h-. 


■ ' 


> . 


- " ; N ' 


CATALOGUE 

OF 

medical,  botanical,  and  chemical 

BOOKS, 

FOR  SALE  BT 


R.  R 8r  a WILRJJMS, 

CORNHILL-SQUARE,  BOSTON,  July,  181<J 


Anatomical  Examinations,  or  a complete  series 


of  Anatomical  Questions,  with  Answers, 

Analysis  of  Minerals,  by  Accum, 

Aphorisms  of  Hypocrates,  by  Marks,  1918 
Accum’s  Chemical  Amusements, 

Accum  on  Chemical  Tests,  1817 
Assalini  on'TIague,  T.  & J.  S.  New  York,  1816. 
Annual  Med.  Register  for  1808,  6th  Bond. 
Botanical  Dictionary,  New  Haven,  1817 
Beddoe’s  Consumption, 

Bell’s  Dissections,  2 vols.  1814 
Bard’s  Compend  Midwifery, 

Burns  on  Abortion,  ... 

Bell’s  Engravings  Bones,  Mus.  and  J oints, 

“ “ Bones  separate, 

“ “ Muscles  and  Joints,  gG 

Boyer’s  Surgery,.  - , 

Bard’s  Midwifery,  4(h  ed  enlarged. 

Bell  on  Wounds,  Walpole  ed  1817 
Bell  on  Urelhra,  ... 

Burns  on  Gravid  Uterus,  - - . 

Boyer  on  the  Bones,  _ . . 

Bell’s  Operative  Surgery,  2 vols. 

Bell’s  Anatomy,  J.  & C.  3 vols. 

Bell  [Jt)hn]  Surgery,  ab.  by  J.  A.  Smith, 

jack’s  Lectures  on  Elements  Chemistry,  - •/ 

^tanica!  Harmony  delin.  from  French  St  Pierre,  1 
Bateman’s  Cutaneous  Diseases,  new  work  2 


SI 

1 


1 

1 

2 

1 

2 

1 

12 


6 

3 

C> 

1 

1 

4 
8 

1 1 

5 
7 


i 


2 R.  P.&r  C.  Williums,  Cornhill  Square. 

Bedcloe’s  medicinal  use  and  prod,  of  factitious  airs  2 
Buchan’s  advice  to  Mothers,  - - 2 

Bichat  on  the  Membranes,  . . 2 

Bell  on  Hydrocell,  Bond.  1794,  - - 2 

Bell’s  Surgery  [B)  4 vols.  - . ]4 

Barton,  B.  S.  Philadelphia  Med.  Journal,  3 v.  8 
Brown’s  Elements  Medicine,  - 2 

Blaine’s  Diseases  Seamen,  London,  1799,  3 

Cullen’s  Materia  Medica,  by  J.  Barton,  2 vols-  5 
Ciitbush’s  Chemistry,  2 vols  - - 2 

C'heyne’s  Essays  on  Diseases  of  children,  2 vols  2 
Chayne  on  the  Dropsy  of  the  Brain,  - 1 

“ on  Croup  ... 

t’hemical  Affinity,  by  Bertholet  ■-  1 

' 'lark’s  practice  Phy  sic,  - - ] 

Copeland  on  the  Rectum,  1811 
Comparative  description  of  the  Muscles  in  Man 
and  Quadruped,  by  Douglas,  London,  1807 
Cooper  on  Diseases  of  the  Joints 
Corvisart  on  Diseases  Heart  and  Vessels  2 


Cullen’s  Materia  Medica  - - 2 

Cullen’s  Pracaice  Physic,  Edinburgh  4 vols  10 
Cooper’s  First  Lines  Surgery,  - - 3 

i Jurrie  on  cold  and  warm  Water  in  Fevers,  &c.  2 

Cliesseldien’s  Anatomy',  - - - - 2 

Chemical  Catechism,  by  S Park,  last  ed.  3 

Champman’s  Burn’s  Midwifery  - - 3 

Chemical  Philosophy,  elem.  by  Sir  H.  Davy  3 
Downing  on  Diseases  of  Horned  Cattle, 

Descrip,  of  the  Arteries,  by  Haller,  corrected  ed.  5 
Domestic  Medicine  by  Buchan  - - 3 

Desault,  Fractures,  Luxations  and  other  affections 
of  the  Bones,  edited  by  Bichet,  plates,  transla- 
ted byC.  Caldwell,  notes  and  improvements,  2 
Denman’s  Midwifery,  - - - 3 

Epidemical  Diseases  of  Minorca,  by  Cleghorn,  1 
Ewel’s  plain  discovery  on  laws  and  property  of 
matter,  also  that  part  of  Chemistry  connected 
with  Domestic  afl'airs,  - - 3 


Electric  Repertory,  ed.  by  aspciety  ofPhys.  Phil.  28 


50 

50 

50 

50 

50 

75 

12 

87 

62 

BO 

75 

75 

5o 

75 

50 

60 

50 

56 

50 

75 


Medical,  Botanical  and  Chemical.  3 

Female  Medical  Repository  - - I 

Ful  ;ame  on  Combustion  witli  a view  to  a new  art 
of  Dyeing  and  Painting  - - 1 

Fiet’s  Anatomy  2 vols.  - - - 2 

Grammar  of  Chemistry  by  Blair,  cor.  and  revised  75 
Gallup  on  Epidemic  Diseases,  - 3 

Henry’s  Chemistry,  cd.  by  Coxe,  1817  5 

Hunter  on  the  Blood,  . - - . 4 

Hunter  on  the  Venereal  - - . - 3 50 

Heaid’s  Pharmacopae,  Roy.  Phys.  London  2 25 

Hey’s  Surgery  - - - 3 60 

Hewistis  on  diseases  of  Louisiana  - 1 26 

Haller’s  Physiology  ...  3 

Higgin’s  Experiments  on  the  strength  of  Cements  1 76 
Heniy’s  Epitome  of  Chemistry  - - 1 

Hooper’s  Vade  Mecum,  - » 1 25 

Hooper’s  Examinations  for  Students,  - 62 

Home  on  U leery  of  the  Legs  - - 1 25 

Flamilton  on  Purgative  Medicines  - - 87 

Innes  on  the  Muscles,  London  ed.  - - 1 

Johnson  on  Cancers  - - . - l 

Larrey’s  Surgery  2 vols  - - 7 

Lawrence  on  Ruptures  - - 3 

Lewis’ Practical  Chemistry,  London,  1816,  2 25 

Legallois’  Experiments  on  Life,  - - 2 fiO 

Lind  on  Diseases  of  Europeans  in  Hot  Climates,  2 
Letters  to  Ladies,  by  T.  Ewell,  >•  - 2 00 

Mann’s  Medical  Sketches,  ...  3 

Mc’Llean  on  Hydrothorax,  - - 2 75 

Med.  and  Agricultural  Register,  - - 3 

Moseley  on  Sugar,  with  Mis.  Med.  Observations  2 37 
Miller’s  Life  and  Medical  VV’ritings,  - 3 

Mercurial  Diseases,  by  A.  Matthias,  - 1 75 

Medical  Repository,  New  York,  15  vols. 

Do.  do.  continuation, 

Mineral  Waters  of ’Saratoga.  Ballstown, 

Maternal  Physician,  management  of  Infants, 

North,  01  Spoiled  Fever, 

Observations  on  Hydrophobia,  - 


I'i' 

if 


4'  R.  P.  ^ C.  Williams^  Cornhill  Square. 


Osborn’s  Practical  Rlidwifery.  Lond.  eil  1795,  S 
Pharniacopie  Mass.  Med.  Society,  - 1 25 

Piiiilins’  'iinernl<;gy,  an-ouliiae,  fcc.  - 1 25 

Purgative  Medicines,  by  Janaes  Hamilton,  - 2 25 

remberlon,  Abdomenat  Viscera,  - - I 50 

I’barraacopia,  N.  Y Hospital,  - - I 50 

P'iillips’  Mineralogy,  -■  1 ?5 

Phiiiips  on  Vital  Functions,  - - 2 50 

Parkinson’s  Admonitions  to  Families,  - 2 

PoU  on  the  Hydrocele,  Lond.  - - 1 50 

Ricketson  on  preserving  be.aith  and  prevent  dis.  1 25 
Rush  on  Summer  and  Autumnal  Di3t;a.ses  - «2 

Rush’s  Works  .....  3 

Saunders  on  Structure,  Economy  & Dis.  of  Liver  75 
Surgeons  Vade  Mecnm,  - - - 1 25 

Suspended  Animation,  Essay  on,  by  Struve,  1 

Stevenson  on  Weakness  ami  ;Sight,  - 75 

Science  of  Life,  by  John  Brown,  - - 1 50 

Sydenham’s  Works,  by  Rush,  - - 3 

Smellie’s  practical  and  Midwifery  7 50 

Shaw’s  Practice  of  Physic,  2 vols  - 3 50 

Shattuck’s  Dissertations,  - - - 1 50 

Timbrel  on  Ruptures,  ...  37 

Trotter  on  Drunkenness  and  its  effects,  1 25 

“ on  Nervous  TcMuperament,  - 1 

Teeth,  a Treaty,  by  B.  James,  - - 1 

Thomas’  Practice,  New  York  ed.  1817  - 4 50 

Thompson  on  Inflammation,  - - - 3 

Underwood  on  diseases  in  Children  - 3 25 

^Vatsoa’s  Chemical  Essays,  5 vols.  (Lon.  ed.)  8 
Williamson  on  Climate  ~ - - 1 25 

Webster’s  history  of  Epidemic  and  Pest.  Diseases  4 
Williams  on  the  Skin  - - . S 50 


R.  P.  ^ C.  WILLIAMS  are  continualhj  in- 
creasing their  assortment.  Libraries  furn- 
ished on  Liberal  terms  ; every  favor  grate- 
fully acknowledged^ 


:r-< 


i 


■>v  ■ 


Digitized  by  the  Internet  Archive 
in  2015 

• ’ ' 

■ . I 

I 


■-  a 


'K 


l;ittps:'//^chive.org/detalls/practic^ltreatis00coop_0 

' - 7'^ 

ir  ' ' 


V . # : 


A 


PRACTICAL  TREATISE 

ON 

DYEING, 

AND 

CALLICOE  PRINTING: 

EXHIBITING  THE  PROCESSES^ 

IN  THE 

FRENCH,  GERMAN,  ENGLISH,  AND  AMERICAN  PRACTICE  OF  FIXING  COLOURS 
ON  WOOLLEN,  COTTON,  SILK,  AND  LINEN. 

BY  THOMAS  COOPER,  ESQ.  - 

Professor  of  Chemisti’y  in  Dickenson  College,  Carlisle,  Pennsylvania. 


PHILADELPHIA: 

PUBLISHED  BY  THOMAS  DOBSON,  AT  THE  STONE  HOUSE, 
NO,  41,  SOUTH  SECOND  STREET, 

William  Fry,  Printer. 

1815. 


/ 


District  of  Pennsylvania,  to  wit; 

********  BE  IT  REMEMBERED,  that  on  tiie  twentieth  day  of 

* if  thirty-ninth  year  of  the  independence  of  the 

« ’ * United  States  of  America,  A.  D.  1815,  Thomas  Dobson,  of 

********  the  said  district,  hath  deposited  in  this  office  the  title  of  a 
book  the  right  whereof  he  claims  as  proprietor,  in  the  words  following, 
to  wits 


“ A Practical  Treatise  on  Dyeing  and  Callicoe  Printing:  Exhibiting 
the  Processes  in  the  French,  German,  English,  and  American 
practice  of  fixing  Colours  on  Woollen,  Cotton,  Silk,  and  Linen. 
By  Thomas  Cooper,‘Esq.  Professor  of  Chemistry  in  Dickinson 
College,  Carlisle,  Pennsylvania.” 

In  conformity  to  the  act  of  the  Congress  of  the  United  States,  intituled, 
“ An  act  for  the  encouragjement  of  learning,  by  securing  the  copies  of 
maps,  charts,  and  books,  to  the  authors  and  proprietors  of  such  copies, 
during  the  times  therein  mentioned.”  And  also  to  the  act,  entitled  “ An 
act  supplementary  to  an  act,  entitled  ‘ An  act  for  the  encouragement  of 
learning,  by  securing  the  copies  of  maps,  charts,  and  books,  to  the  authors 
and  proprietors  of  such  copies  during  the  times  therein  mentioned,’  and 
extending  the  benefits  thereof  to  the  arts  of  designing,  engraving,  and 
etching  historical  and  other  prints.” 

D.  CALDWELL, 

Clerk  of  the  District  of  Pennsylvania. 

/ ^ 

/ 6 


THE  OEi  I 


PREFACE. 


XHE  art  of  Dyeing  is  of  great  importance  to  a country 
that  manufactures  cloth  of  any  kind.  It  adds  to  the 
beauty  and  contributes  to  the  economy  of  the  material 
whether  woollen,  silk,  cotton  or  linen:  it  therefore  en- 
courages the  demand. 

In  France,  under  Colbert,  it  was  the  subject  of  many 
governmental  regulations,  having  for  their  object  the 
distinction  between  true  and  false  dyes;  that  is,  per- 
manent or  fugitive  colours,  the  great  or  the  lesser  dye. 
Colbert  meant  well,  but  he  did  not  know  in  that  day 
the  value  of  the  advice  “ Let  us  alone  to  manage  our 
own  affairs.”  Laissez  nous  J'aire. 

The  only  good  books  on  dyeing,  however,  we  owe 
to  France; — Hellot  for  woollen,  Macquer  for  silk, 
D’Apligny  for  cotton,  and  lately  Berthollet  and  Sons, 
with  Bouillon  La  Grange’s  edition  of  Homassel.  These 
are  the  most  valuable  books  of  a dyer’s  library. 

In  England,  Haigh’s  Dyer’s  Assistant  is  little  more 
than  a copy  of  Hellot.  Bancroft,  who  having  disco- 
vered and  secured  a monopoly  of  the  bark  of  the 
American  black  oak,  turned  his  attention  to  dyeing, 
has  published  a very  valuable  treatise,  but  not  a prac- 
tical one.  The  history  and  description  of  the  drugs 
used,  and  the  theory  that  pervades  the  book,  is  ex- 
cellent. I know  of  no  book  on  the  subject,  however, 
that  is  original,  practical,  and  English.  All  the  books 


IV 


there  published  on  the  subject,  Bancroft’s  excepted, 
are  either  copies  of  Hellot,  or  catchpenny  compilations 
of  no  value.  On  callicoe  printing,  England  has  fur- 
nished but  one  book,  published  about  twenty-five  years 
ago,  and  of  no  value.  That  manufacturing  and  jealous 
nation,  conceals  all  the  knowledge  by  which  other  na- 
tions could  profit  in  a manufacturing  point  of  view. 

In  Germany  I know  of  nothing  but  Gulich’s, 
Scheft'er’s  and  Poerner’s  treatises,  which  are  rather 
experimental  than  didactic  and  practical.  D’Ambour- 
ney’  work,  though  very  curious,  and  opening  a field 
of  future  utility,  is  also  of  no  use  to  the  practical  dyer. 

In  this  country  two  books  have  been  published  on 
the  subject,  one  a thin  duodecimo,  by  Asa  Ellis  of 
Connecticut,  and  another  lately  by  Elijah  Bemiss  of 
New  York  State.  They  are  both  practical  books,  con- 
taining processes  manifestly  copied  from  experience. 
Asa  Ellis’s  book  contains  no  theory,  and  his  receipts 
can  for  the  most  part  be  depended  on.  That  of  Elijah 
Bemiss,  although  the  first  part  is  manifestly  the  work 
of  a practical  dyer,  yet  it  is  marked  by  such  a total 
ignorance  of  chemical  principles,  and  some  of  the  re- 
ceipts are  so  strange,  that  although  a man  who  under- 
stands the  theory  of  dyeing  may  make  a good  use  of 
some  parts  of  it,  the  work  is  not  of  equal  merit  with 
those  which  have  preceded  it.  Still  it  is  a book  worth 
having,  the  proportions  are  tolerably  good,  and  suited 
to  the  present  state  of  this  country. 

The  sources  to  which  I have  applied,  are  Hellot, 
Macquer,  Berthollet,  Homassel,  and  occasionally  to 
Asa  Ellis. 


V 


Thirty  years  ago,  dyeing  and  printing  occupied 
much  of  my  time  experimentally  and  practically:  my 
strong  and  decided  liking  for  ihese.branches  of  indus- 
try, has  kept  me  alive  to  every  improvement  I could 
hear  of  since  I iiave  been  in  this  country;  and  my  che- 
mical pursuits  have  enabled  me  to  understand  these 
subjects  certainly  better  than  a merely  practical  man. 

I consider  therefore  that  I am  (jualified  to  judge  of  what 
is  likely  to  be  to  the  purpose  among  a variety  of  receipts, 
as  well  as  can  reasonably  be  expected.  But  although 
I have  dyed  every  colour  upon  cotton  with  my  own 
hands  heretofore,  and  that  not  by  way  of  experiment, 
but  for  the  market,  and  although  I have  superintended 
with  anxious  care  the  dyeing  and  the  colour  shop  of 
the  printing  department  at  my  own  establishment,  this 
is  so  long  ago,  that  much  has  escaped  my  recollection, 
and  probably  much  is  known  to  others  who  have  con- ' 
tinued  in  the  practice,  which  is  now  unknown  to  me. 
Still,  1 send  out  this  book,  as  upon  the  whole  the  best 
book  on  the  subjects  of  dyeing  and  printing  now  ex- 
tant, scanty  as  the  information  may  seem. 

It  is  very  singular  that  in  the  voluminous  publica- 
tion, Rees’s  Cycloptedia,  I can  find  nothing  on  dye- 
ing generally,  and  only  two  articles  relating  to  the 
subject  of  printing.  Can  this  be  a wilful  omission  in  the 
common  jealous  manufacturing  spirit  of  the  country? 
However,  in  the  article  dyeing,  the  English  may  have 
cheaper,  but  they  have  not  better  processes  than  the 
French  have  published;  nor  in  general  is  the  English 
dye  house  as  good  as  the  French;  or  their  cloths  so 
well  dyed. 


VI 


With  us,  and  in  the  infancy  of  our  manufacture,  it 
is  all  important  that  we  should  reject  as  much  as  pos- 
sible fugitive,  and  use  only  permanent  colours.  For 
this  purpose  it  is  worth  while  to  go  to  the  expense  of 
these  colours.  At  present,  the  English  manufacture 
cheaper,  dye  cheaper,  and  finish  their  goods  far  supe- 
rior to  every  other  nation  as  well  as  our  own;  but  if 
our  cloth  and  our  colours  are  substantially  better,  if 
they  will  last  longer  than  the  English,  it  will  compen- 
sate in  a great  degree  both  for  inferior  finish  and  higher 
price.  My  receipts  therefore  are  not  of  the  cheapest 
kind.  I have  uniformly  rejected  the  fraudulent  and 
fugitive  dyes,  and  insisted  on  the  fast  colours. 

This  work  I know  to  be  incomplete,  particularly  in 
the  department  of  callicoe  printing,  but  where  will  the 
reader  find  a better?  This  is  my  apology. 

I have  often  been  asked  for  a treatise  on  dyeing, 
which  shall  contain  in  a small  compass  all  the  best  re- 
ceipts for  each  colour,  rejecting  all  inferior  ones:  so 
that  an  unlettered  and  practical  man,  can  go  to  work 
with  a full  reliance  on  the  process  laid  down  for  him; 
and  an  excellent  book  this  would  certainly  be. 

But  those  who  ask  for  it,  are  not  aware,  that  in  all 
probability  no  man  living  is  competent  to  such  a selec- 
tion. Almost  every  dye  shop  has  its  peculiar  recipes, 
and  processes.  The  directions  given  by  the  most  ap- 
proved authors  greatly  differ  from  each  other.  Diffe- 
rent processes  will  suit  some  countries  better  than 
others,  and  different  localities  in  the  same  country.  A 
dyer  in  New  York  or  Philadelphia,  will  use  drugs  im- 
ported, for  which  a dyer  in  the  back  country  will  be 


Vll 


induced  to  find  a substitute.  This  has  induced  me  by 
way  of  appendix  to  insert  D’Ambourney’s  experi- 
ments on  the  colours  produced  by  different  woods, 
satisfied  that  such  a set  of  experiments  made  on  our 
own  woods,  would  probably  lead  to  many  useful  re- 
sults. 

The  plan  of  the  following  treatise  is  much  in  this 
wise. 

Suppose  I were  a dyer,  and  a young  lad  sent  to  me 
to  be  instructed  in  the  art: 

I should  first  expect  of  him  a good  knowledge  of 
the  elements  of  chemistry;  for  it  is  a farce  to  talk  of  a 
dyer  who  is  ignorant  of  chemical  science;  every  step 
he  takes  must  be  in  the  dark;  he  cannot  move  but  by 
rote. 

I should  then  instruct  him  in  the  materials  used  in 
the  art  of  dyeing:  Bancroft’s  book,  to  which  mine  is  a 
practical  supplement,  will  do  this  better  than  any  other. 

I should  then  carry  him  if  I could,  to  the  best  dye 
houses  in  the  neighbourhood,  and  show  him  the  pro- 
cesses there  used  for  each  colour  on  the  respective 
kinds  of  stuff*. 

Then  I would  bring  him  home  and  make  him  dye 
the  same  colours  in  my  own  dye  house,  explaining  the 
reasons  of  difference,  wherever  my  practice  differed 
from  my  neighbours’. 

I have  done  so  in  this  book.  I have  placed  the 
reader  in  the  French,  the  German,  the  English  dye 
houses:  I have  given  him  the  processes  of  each  coun- 
try, where  I could  get  at  them;  I have  then  given  my 
remarks  on  these  processes,  and  my  own  alterations 
founded  on  those  remarks,  leaving  him  then  to  exer- 


Vlll 


cise  his  own  judgment.  I think  this  is  far  better  than 
confining  him  to  a single  receipt,  under  the  notion  that 
I was  duly  qualified  to  select  the  very  best,  and  infal- 
lible in  my  judgment.  I know  that  I am  not  so,  and 
therefore  I have  not  pretended  to  this  very  desirable 
qualification. 

In  fact  the  art  of  dyeing  is  yet  in  its  infancy.  No  one 
but  a good  chemist,  who  is  at  the  same  time  a good 
dyer,  can  form  any  judgment  of  the  very  many  unas- 
certained points  that  yet  remain  as  desiderata  in  this 
art.  I have  felt  this  at  almost  every  page  of  the  work. 
It  is  in  dyeing  as  in  all  other  branches  of  knowledge, 
a man  must  know  much,  before  he  is  aware  how  igno- 
rant he  is.  The  only  cure  for  the  evil,  is  the  general 
introduction  of  chemical  knowledge,  which  bears  upon 
the  principles  of  almost  every  art  and  trade  that  sub- 
serves the  comfort  or  convenience  of  common  life. 

Such  as  the  book  is,  I believe  it  will  be  useful  in 
its  way,  and  I am  glad  thus  to  contribute  my  mite  to 
the  treasury  of  practical  knowledge,  of  which  this 
country  stands  so  much  in  need. 

THOMAS  COOPER. 


INDEX. 


A. 

•AcETAT  of  alumine^  directions  for  making,  7. 

Alder  Bark,  14.  Of  its  use  in  the  brown  dye,  185. 

Annatto,  (Rocou),  23.  Its  application  in  the  silk  dye,  208. 

Archil,  (orseille,  roccella)  17. 

Aurora,  how  composed  for  the  woollen  dye,  175.  For  silk,  211. 

B. 

Bancroft,  Dr.  his  proposals  on  the  scarlet  dye,  142—148.  His 
mordant  for  quercitron  bark  in  the  woollen  dye,  172. 

Barberry  Root,  20. 

Barry  red,  141. 

Berthollets’  (Messrs.)  remarks  on  the  Indigo  vat  of  Rouen, 
64.  Their  process  for  setting  the  vat,  65.  Receipts  for  the 
common  pencil  blue  of  the  callicoe  printers,  67 — 69.  Method 
of  dyeing  scarlet,  124 — 128.  Remarks  on  the  use  of  sumach, 
183.  Process  for  dyeing  Saxon  green,  180.  On  the  black  dye 
for  silk,  239. 

Birch  tree,  20. 

Black,  Hellot’s  process  for  dyeing,  87.  Method  of  Homassel,  90. 
Haigh’s  process,  94 — 96;  another,  by  Asa  Ellis,  96.  Method 
of  dyeing  common  blacks,  98.  Homassel’s  vat  for  dyeing- 
silk,  237 — 239.  Macquer’s  process,  239.  Of  dyeing  cotton 
this  colour,  271 — 279. 

Blue. — Of  the  drugs  used  for  this  colour,  20 — 23.  Method  of 
dyeing  blue  on  woollen  and  cotton,  35,  et  seq.  How  dyed  on 
woollen  with  indigo  alone,  44.  Pencil  blue  of  the  callicoe 
printers,  67 — 70.  Proportions  of  ingredients  used  for  dyeing 
this  colour  by  the  English,  French  and  German  dyers, 
74 — 78.  The  Editor’s  proce*  s for  dyeing  blue  on  woollens, 
79.  Of  its  various  shades  with  red,  162 — 165.  On  the  dye- 
ing silk  this  colour,  249 — 254.  Of  the  blue  dye  on  cotton, 
270.  Of  the  Blue  vat  of  the  callicoe  printers,  362,  et  aeg. 

Bran  and  madder  vat, — how  made  and  used,  45. 

b 


X 


Brazil  ’■Mood,  16.  Directions  for  using  it  in  the  red  dye,  150.  Ho\v- 
used  in  dyeing  cotton  red,  280. 

Brazilletto,  16, 

Brown.  Of  the  processes  for  dyeing  the  different  shades  of  this 
colour,  177 — 182.  Directions  for  this  colour  on  cotton,  303. 

Buff  yellow  on  woollen,  173.  On  cotton,  308 — 312. 

C. 

Cam  wood,  16. 

Carthamus,  17. 

Carmelite,  how  dyed  on  woollen,  175.  On  silk,  214. 

Callicoe  firinting.  Observations  on,  316 — 335.  Of  the  process  for 
preparing  callicoes,  making  mordants,  and  printing  raised 
colours,  336 — 352.  Observations  on  raising  madder  colours, 
352.  Colours  raised  by  w'eld,  354.  With  quercitron,  356,  Of 
colours  to  be  raised  in  weld  and  madder,  conjointly,  or  in 
quercitron  and  madder,  ib.  Of  colours  to  be  raised  in  weld 
or  quercitron  and  logwood,  357.  Single  blacks  to  be  raised 
with  logwood  and  sumach,  358.  Colours  to  be  raised  in  lime 
water  and  potash,  358 — 360.  Colours  to  be  raised  in  lime, 
copperas  and  potash,  360.  On  dipping,  361 — 389.  Of  Pencil 
colours,  389.  Of  chemical  colours,  390 — 422.  Of  printing 
by  discharging  colours  already  dyed,  422 — 424.  Homassel’s 
remarks  on  callicoe  printing,  424,  et  seq. 

China  Blue,  on  the  manner  of  making,  70 — another  process,  71. 
Proportion  of  ingredients  used  by  the  English  dyers,  78.  For 
callicoe  printing,  385.  444. 

Chemical  colours,  452 — 459. 

Cochineal,  17. 

Colour  7)iaking,  395 — 422. 

Cotton.  Remarks  on  the  mordants  requisite  for  this  substance, 
262 — 264.  On  bleaching  cotton  goods,  265 — 269.  Of  the 
blue  dye  for  cotton,  270.  Of  the  Black  dye,  271 — 279.  Of 
scarlet,  279,  280.  Of  brazil  reds,  280.  Of  pink,  281.  315. 
Of  madder  reds,  282 — 303.  Of  the  Turkey  red,  286 — 299. 
314.  Of  browns  and  chocolates,  303.  Of  violet,  ib.  Of  the 
yellow  dye,  304 — 308.  Of  buff  colours,  308.  312.  Orange, 
310.  Cinnamon,  ib.  Drabs,  ib.  Olives,  311.  Nankins,  309. 
312.  Greens,  313.  Coquelicot,  ib.  Puce  or  flea  colour,  ib. 
Grays,  ib.  Black,  ib. 


I 


XI 


Crimson.  Hellot’s  method  of  dyeing  Genoa  crimson  on  silk,  220 — . 
224.  Macquer’s  process  for  fine  crimson,  224.  Of  the  false 
or  brazil  crimson,  227.  Violet  crimson  of  Italy,  228.  Homas- 
sel’s  fine  crimson,  229.  Brazil  crimson,  28!.  315. 

D. 

Drab.  Of  the  processes  for  dyeing  the  different  shades  of  this 
colour,  176. 

Drugs.,  colouring.  How  tested,  2.  Of  the  kinds  used  in  dyeing, 
12,  et  seq. 

Dye-house.  General  directions  for  arranging  it,  10.  Of  the  uten- 
sils, See,  required,  28. 

F. 

Fustic,  old,  19.  How  used  in  the  yellow  dye,  169. 

Fustic,  young  (Fustet,  Venice  sumach)  19.  How  employed  in  the 
silk  dye,  214. 

G. 

Galls,  Alefifio,  13.  Berthollet’s  experiments  on,  ib. 

Golden  Rod  (Solidago),  20. 

Gold  colour.  How  dyed  on  silk,  211. 

Grays.  Of  the  processes  for  dyeing  the  different  shades  of  this 
colour,  100 — 103.  182.313. 

Green,  Bottle.  Process  for  dyeing  this  colour  on  woollen,  176. 
On  silk,  by  Homassel,  260.  On  cotton,  3 13. 

Green.  Directions  for  dyeing  a fast  green,  185.  Homassel’s  me- 
thod of  dyeing  Saxon  green,  187.  Berthollet’s  process,  188. 
Macquer’s  directions  for  dyeing  silk  this  colour,  256 — 258. 
Homassel’s  method,  259.  On  cotton,  313. 

H. 

Haussman's  remarks  on  the  indigo  vat,  65. 

Hellot’s  process  for  dyeing  black,  87.  His  method  of  making  the 
scarlet  composition,  103 — 105;  and  of  dyeing  scarlet,  105 — 
124.  Process  for  dyeing  with  weld,  167.  On  brown  from  wal- 
nut rinds,  179.  Directions  for  dyeing  the  Genoa  crimson  on 
silk,  220 — 224. 

Homassel — His  directions  for  sulphuring,  32.  Process  for  setting 
the  pastel  or  woad  vat,  41 — 44.  Method  of  setting  the  indigo 
vat,  50.  Observations  on  the  callicoe  dyers’  blue  vat,  71  Di- 
rections for  making  pencil  blue,  73.  Process  for  dyeing 
black,  90.  His  mordant  for  fast  and  bright  grays,  100.  Pro- 


I 

* 

xii ' i 

i 

} 

cesses  for  common  scarlet  and  rose  colour,  147.  Method  of 
using  brazil  wood  in  the  red  dye,  150,  Processes  for  violets 
and  purples,  163.  Observations  on  yellow  colours,  167 — 171. 

On  the  brown  from  walnut  rind,  180.  Method  of  dyeing 
Saxon  green,  187.  Process  for  dyeing  fine  crimson  on  silk, 

2S9.  Scarlet,  231.  Pink,  232—236.  Black,  237.  Green,  259. 
Remarks  on  callicoe  printing,  424,  et  seq. 


I. 

Indigo^  of  the  different  kinds  of,  20 — 22.  How  used  in  the  dyeing 
of  woollen,  44,  et  seq.  On  the  use  of  this  substance  in  the 
silk  dye,  249 — 254. 

Indigo  vat,  process  of  setting  used  by  the  dyers  of  Pennsylvania, 
45 — 48.  M.  Homassel’s  method,  50,  Process  at  Rouen,  62. 
Messrs.  Berthollet’s  vat,  65.  Bergman  and  Scheffer’s  vat, 
67.  . 

with  lime,  for  cotton  dyeing,  56 — 61.  M.  Le  Pileur  d’Aplig- 

ny’s  process,  61.  With  urine,  by  Homassel,  82. 

Proportions  of  ingredients  used  by  the  English  and  French 

dyers,  in  the  vats  for  woollens  and  callicoes,  74 — 78.  Process 
of  the  callicoe  printers,  362,  et  seq. 


Kermes,  17. 


K. 


L. 

Lac,  (stick,  shell,  and  seed} — 17. 


M. 

Madder,  and  Madder  Roots,  15.  Of  its  properties  and  uses  in 
dyeing  red,  151 — 158.  Sir  H.  Englefield’s  madder  lake,  155. 
Experiments  on  madder  by  M.  Merime,  155.  Of  madder 
reds  on  cotton,  282—286.  Of  the  madder  copper  for  callicoe 
printing,  349,  et  seq.  Observations  on  raising  madder  co- 
lours, 352,  et  seq. 

Mahogany,  18. 

Mill,  description  of  one,  for  grinding  indigo,  21. 

Mordant,  meaning  and  application  of  the  term,  1.  Of  the  different 
kinds  used  in  dyeing,  2 — 6,  and  23 — 28.  For  callicoe  print- 
ing, 318,  t seq.  Resisting  mordants,  381. 

Mordore,  how  dyed  on  woollen,  175.  On  silk,  211. 


Xlll 


N. 

Minkin,  how  dyed  on  cotton,  309.  312. 

JVavy  Blue,  85. 

Micaragua  wood,  16. 

O. 

Olive  Colours.  Processes  for  dyeing  different  shades  of  olive  on 
woollen,  176.  On  silk,  261. 

Orange.  How  dyed  on  woollen,  175.  On  silk,  21 1.  On  cotton,  311. 

P. 

Paris  Mud.  How  dyed  on  woollen,  182. 

Pastel,  22.  Of  the  vats,  35.  Process  of  setting  them,  36.  Homas- 
sel’s  process,  41 — 44. 

Peach  wood,  16. 

Pencil  Blue,  Berthollet’s  receipts  for,  67—69.  How  made  by  the 
Manchester  printers,  69,  70.  Homassel’s  process,  73.  Pro- 
portions of  ingredients  used  by  the  French,  German  and 
English  dyers,  77.  Of  the  callicoe  printers,  389. 

Pink.  Method  of  dyeing  this  colour  on  woollen,  158 — 162.  On 
silk,  by  Homassel,  232 — 236.  315. 

Puce  or  Flea  Colour.  How  dyed  on  silk,  215.  Process  for  a bright 
colour,  230.  On  cotton,  313. 

Purple.  Processes  of  the  English  dyers  for  making  this  colour, 
164.  How  dyed  on  silk,  217. 

Q. 

Quercitron  Bark,  18.  Of  its  use  in  callicoe  printing,  356. 

R. 

Red.  Of  the  drugs  generally  used  for  giving  a red  or  reddish  dye, 
16 — 18.  Of  the  reds  from  brazil,  brazilletto,  nicaragua,  red 
and  peach  woods,  149.  Of  reds  from  madder,  151.  Of  its 
combinations  with  blue  colours;  violets,  purples,  lilacs,  &c. 
162 — 165.  Of  its  combinations  with  black,  165.  Of  madder 
reds  on  cotton,  282 — 286.  Process  for  the  .Turkey  red,  286 
—301.  314.  Common  reds  on  cotton,  314.  Fine  and  fast  reds, 
lb.  Of  the  reds  of  callicoe  printing,  350. 

S. 

Saffron,  19. 

Saxon  Blue,  process  for  making,  84.  How  used  in  the  silk  dye, 
254. 


XIV 


Saxon  Green,  Homassel’s  method  for  dyeing,  187.  Process  of 
Berthollet,  188. 

Scarlet.  On  the  process  of  dyeing  this  colour  on  woollen,  103 — 
149.  Hellot’s  method,  105 — 124.  Process  of  Messrs.  Ber- 
thollets,  124 — 128.  Of  the  London  dyers,  139.  Dr.  Bancroft’s 
proposals,  142 — 146.  Venetian  scarlet,  148.  On  the  scarlet 
from  stick  lac,  149.  Homassel’s  process  for  dyeing  this  colour 
on  silk,  231.  Of  dyeing  cotton  a scarlet  colour,  179,  180.  315. 

Scourer,  on  the  business  of  a,  459,  et  seq. 

Silk.  Homassel’s  remarks  on  the  boiling  raw  and  unbleached  silk, 
198 — 203.  Of  white  silk,  203 — 205.  Macquer’s  process  for 
sulphuring  this  substance,  206.  Directions  for  aluming  silk, 
207.  How  dyed  with  annatto,  208.  How  dyed  of  a coquelicot 
colour,  210.  Aurora,  211.  Mordore,  ib.  Orange,  ib.  Gold  and 
buff,  ib.  Puce  or  flea  colour,  215.  Brown  puce,z6.  Carmelite, 
214.  Prune  colours,  ib.  Violets,  215.  Purples  and  July- 
flowers,  217.  Maroons,  &c.  218.  Hellot’s  directions  for  dye- 
ing the  Genoa  crimson,  220 — 224.  Macquer’s  process  for 
fine  crimson,  224 — 226.  False  or  brazil  crimson,  227.  Dif- 
ferent shades  of  red,  228.  Violet  crimson  of  Italy,  ib.  Fine 
crimson  by  Homassel,  229.  Bright  violets,  230.  Scarlet,  231. 
Pink,  232 — 236.  False  poppy  or  fire  colour,  236.  False  rose 
colours,  237.  Black,  ib.  Of  indigo  blue  on  silk,  249 — 254. 
Of  yellows,  254.  Of  greens,  256 — 261.  Olive,  261. 

Soot,  20.  Of  its  use  in  dyeing  yellow,  170.  ' 

Sumach  (rhus  coriaria),  14.  How  used  in  dyeing  brown,  183. 


T. 

Tests.  Of  the  different  kinds  wanted  by  the  dyer,  23 — 28. 

Turkey  Red.  Process  for  dyeing  this  colour  on  cotton,  286 — 299. 
Editor’s  process  for  dyeing  an  imitation  of  the  Turkey  red, 
299—301.  314. 

Turmeric,  19.  Its  application  for  yellow,  171. 

V. 

Violets.  Of  the  methods  of  giving  the  different  shades  of  this  co- 
lour on  woollen,  162 — 164.  How  dyed  on  silk,  215—217. 
On  cotton,  303.  313. 

W. 

Water.  The  kind  proper  to  be  used  in  dye  houses,  and  how  test- 
ed, 6. 


/ 


XV 

Weld,  18,  Properties  of  its  decoction,  166.  Hellot’s  process  for  . 
dyeing  with  it,  167.  Homassel’s  process,  168,  Of  its  use  in 
callicoe  printing,  354. 

Woad,  22.  Of  the  vats,  35.  Process  of  setting  them,  36.  Homas- 
sePs  process,  41— -44, 

Woods.  Of  the  different  kinds  used  in  dyeing  red,  16. 

Woollen,  on  the  dyeing  of,  30.  Method  of  scouring,  ib.  How  sul- 
phured, 32.  Method  of  improving  the  colour,  ib.  Of  dyeing 
blue  on  woollen,  35.  How  dyed  blue  with  indigo  alone,  44,  et 
seq.  Method  of  dyeing  it  black,  87 — 98.  Process  for  dyeing 
scarlet  on  this  substance,  103 — 149.  How  dyed  pink,  158 — 
162.  How  dyed  violet,  164.  Purple,  ib.  Claret,  165.Gray,£6. 
Yellow,  165 — 174.  Yellow  with  red,  174.  Orange  and  au- 
rora, 175.  Mordore,  ib.  Carmelite,  ib.  Wood  colour,  ib.  Ha- 
zle,  ib.  Of  the  combinations  of  yellow  with  black,  producing 
olives  and  drabs,  176.  General  remarks  on  the  woollen  dye, 
196,  et  seq. 

Woollen  Flocks,  194 — 196. 

Y. 

Yellow.  Of  the  drugs  used  to  give  this  colour,  18.  165.  Homas- 
sel’s  observations  on  this  colour,  produced  from  weld,  168; 
from  fustic,  169;  from  soot,  170;  and  from  turmeric,  171. 
English  process,  171,  e?  seq.  Of  its  combinations  with  red, 
174,  175;  with  black,  176 — 179.  On  the  dyeing  of  silk  this 
colour,  254 — 256.  How  dyed  on  cotton,  304.  308.  312. 

Yellow  Berries  (graines  d’Avignon),  1 9. 

Z. 


Zedoarij,  19. 


ON  DYEING. 


PRELIMINARY  REMARKS. 

XHE  subjects  of  the  art  of  dyeing,  or  the  substances 
to  be  dyed,  are  wool,  silk,  cotton,  linen,  leather.  The 
staining  of  ivory,  bone,  horn  or  wood,  or  the  tinging 
of  glass  or  enamels,  are  not  comprehended  under  dye- 
ing. The  present  treatise  relates  to  wool,  silk,  and 
cotton. 

Dyeing  is  performed  by  fixing  the  colouring  matter 
of  certain  drugs  on  the  substances  to  be  dyed.  This  is 
done,  either  immediately,  as  in  the  case  of  woad  or 
indigo;  or  intermediately,  as  in  the  reds  of  madder, 
and  cochineal,  the  yellows  of  weld,  quercitron  or  fus- 
tic, &c.  which  cannot  be  fixed  unless  by  the  interven- 
tion of  some  other  substance.  These  intermedia,  are 
technically  termed  mordants;  a French  word,  im- 
plying that  they  seize  hold,  and  fasten  upon  the  cloth 
in  the  first  instance.  These  mordants  are  almost  ex- 
clusively, solutions  of  the  earth  of  alum.)  as  the  sulphat, 
tartrat  and  acetat;  or  of  as  the  nitro-muriat;  or  of 
iron  or  copper ^ as  the  sulphat,  or  acetat;  and  lately  the 
nitratof  bismuth  has  been  introduced.  If  in  a solution 
of  any  of  these  salts,  a decoction  of  colouring  matter  be 

A 


2 


poured,  the  colouring  matter  separates  the  aluminous 
earth,  the  tin,  the  iron  and  the  copper  from  its  solution, 
in  an  insoluble  compound.  Sp  if  the  earth  of  alum  be 
precipitated  by  an  alkali,  and  the  precipitate  washed, 
this  precipitate  boiled  with  a decoction  of  logwood  or 
madder,  will  attach  itself  to  the  colouring  matter,  and 
if  in  sufficient  quantity,  will  leave  the  decoction  clear. 
It  is  in  this  way,  that  the  dyer  ought  to  try  the  quan- 
tity and  brilliancy  of  the  colouring  matter  contained  in 
a sample  of  colouring  drugs  he  is  about  to  purchase. 
Let  him  take  for  instance  one  hundred  grains  by  weight 
of  a dye  wood  offered  for  sale;  bruise  it  well;  boil  it 
in  snow  or  distilled  water,  till  the  colouring  matter  be 
extracted;  then  add  cautiously  a solution  of  acetat  of 
alumine,  (printer’s  red  colour,)  or  nitro-muriat  of  tin, 
till  all  the  colouring  matter  falls  down:  the  e}^e  can 
determine  the  brilliancy  of  it,  when  compared  with  a 
known  sample  treated  in  the  same  manner,  and  the 
weight  of  the  precipitate  will  give  (when  dry)  the 
comparative  proportion  of  colouring  matter  in  a given 
weight  of  the  drug,  provided  the  same  solution  be 
used  in  both  cases.  This  method  may  furnish  a much 
more  useful  test  of  the  value  of  a parcel  of  drugs,  than 
any  other  commonly  employed. 

- When  mordant^  are  applied  to  cloth  of  any  kind 
intended  to  be  dyed,  it  has  been  supposed  till  lately, 
that  the  saline  substances  were  decomposed  by,  and 
their  bases  united  chemically  to  the  cloth;  but  late  ex- 
periments show,  that  the  cloth  alone  is  not  able  to 
separate  the  base  from  the  acid:  thus,  when  wool,  silk, 
or  cotton  are  alumed,  the  whole  of  the  alum  absorbed, 


t 


3 


can  be  washed  out  by  repeated  washings  of  hot  water; 
and  by  evaporation,  can  be  collected:  so  that  the  cloth 
shall  be  as  incapable  of  being  dyed  permanently,  as  it 
was  before  the  mordant  was  applied.  Still,  cloth  pre- 
pared or  mordanted  with  alum  should  be  rinced  be- 
fore it  is  dyed,  in  most,  if  not  in  all  cases.  Hence  how- 
ever, it  follows  practically,  first,  that  after  cloth  has 
been  impregnated  with  mordant,  it  should  not  be  tvash- 
ed  too  frequently,  or  too  assiduously,  or  in  hot  water, 
before  it  be  dyed:  the  loose  and  crystallized  particles 
of  the  mordant  should  be  lightly  washed  away,  but  no 
more.  Secondly,  that  in  many  cases  it  would  be  advan- 
tageous to  dip  the  goods  in  the  colouring  matter  first: 
thirdly,  that  alternate  mordanting  and  dying,  has  the 
best  chance  of  saturating  the  cloth  with  colour.  Hence 
also  it  follows,  theoretically,  that  the  cloth  is  not  able  to 
decompose  the  saline  substances  used  as  mordants, 
without  the  assistance  of  colouring  matter;  those  sa- 
line substances  therefore,  are  only  retained  in  the  cloth 
mechanically,  until  the  solution  of  colouring  matter 
precipitates  them  on  the  cloth;  in  that  state,  they  com- 
bine chemically  with  the  cloth;  forming  a triple  com- 
pound of  the  base,  the  colouring  matter,  and  the  cloth. 
The  acetic  acid  and  the  tartaric  acid,  counteract  the 
tendency  of  the  alum  to  crystallize.  But  although 
mordants  in  the  saline  state  are  retained  mechanically 
in  the  cloth,  until  the  dying  process  commences,  yet 
^hen  acids  that  hold  the  base  in  solution  are  taken 
away  by  other  chemical  means,  and  the  base  is  preci- 
pitated on  the  cloih  without  the  intervention  of  colour- 
ing matter,  a chemical  union  takes  place  between  the 


4 


cloth  and  the  base:  thus,  dip  cloth  in  a solution  of  iron, 
whether  sulphat  or  acetat:  then  dip  it  in  lime  water, 
or  in  an  alkaline  solution;  the  oxyd  of  iron  will  be 
fixed  on  the  cloth  indelibly  as  to  the  action  of  air,  of 
water,  or  of  washing  by  soap;  and  will  receive  any  dye 
that  the  oxyd  of  iron  is  capable  of  fixing.  This  indeed 
is  the  common  ley-colour  of  this  country,  and  one 
species  of  the  Manchester  nankeen,  or  fast  buff;  per- 
manent as  to  washing,  but  liable  to  be  stained  by 
tea  and  other  astringents.  I believe  the  same  union 
takes  place,  when  the  base  alumine  or  tin  is  so  preci- 
tated;  and  in  a less  degree,  copper  also;  that  is,  a che- 
mical union  takes  place  between  the  cloth  and  the 
base,  independent  of  the  action  of  colouring  matter, 
when  the  acid  is  by  other  means  taken  away.  Hence 
as  I have  already  stated,  coloured  cloth  is  a triple  che- 
mical compound  of  cloth,  base  of  the  mordant,  and 
colouring  matter.  This  triple  union  is  strengthened  in 
most  cases  of  metallic  mordants  by  moderate  ex- 
posure to  air,  to  complete  the  oxydation  of  the  base. 
When  mordants  are  used,  they  should  be  examined. 
Thus,  alum  and  sulphat  of  copper  frequently  contain 
iron:  so  do  the  muriatic  and  nitric  acids  used  in 
making  the  scarlet  composition.  In  this  case,  a violet 
or  olive  tinge,  veit^^Vg  or  approaching  to  black,  will 
infallibly  be  prc^ueed  by  madder,  Brazil,  cochineal, 
weld,  quercitron, ;'jbr  even  fustic;  this  will  be  more  or 
less  apparent  as  the  iron  predominates.  Roman  alum, 
and  English  alum,  are  the  best  I have  seen.  Iron  can 
be  detected  by  dropping  into  a solution  of  the  saline 
substance  suspected,  a few  drops  of  prussiat  of  potash. 


5 


or  of  lime;  which  ought  also  to  be  checked  by  ano- 
ther glass,  in  which  is  to  be  dropped  a few  drops  of 
tincture  of  galls.  Generally  speaking,  the  best  mor- 
dant for  woollens,  is  tartrat  of  alumine;  for  cotton, 
acetat  of  alumine;  as  yet  this  mordant  is  almost  con- 
fined to  callicoe  printing,  but  it  well  deserves  the  dy- 
er’s attention.  Copper  is  a mordant  chiefly  for  yellows. 

Indigo,  woad,  carthamus,  yellow  berries,  turmeric, 
zedoary,  annatto,  and  some  few  other  drugs,  require 
no  saline  mordant.  The  common  mordant  or  saline  sub- 
stances in  the  preparation  liquor,  for  woollens,  when 
a very  full  colour  is  intended,  is  four  ounces  of  alum 
and  two  of  tartar  to  each  pound  weight  of  woollen. 
The  alum  should  be  first  dissolved,  then  the  tartar 
ground fine,  by  small  quantities  at  a time;  for  an  effer- 
vescence takes  place,  which  may  throw  the  liquor  out 
of  the  boiler.  The  cloth  should  in  general  be  boiled  in 
the  mordant,  or  preparation  liquor,  for  about  two 
hours,  and  be  well  stirred. 

Although  this  be  the  general  proportion  of  mordant 
for  aluming  woollens,  yet  this  proportion  may  vary 
according  to  the  depth  of  colour  required:  and  for 
some  colours,  as  a weld  yellow  for  instance,  half  the 
quantity  will  answer.  So,  much  less  tartar  is  required 
for  gold  colours,  bright  yellows,  and  some  others,  for 
which  the  dose  of  mordant  is  three  ounces  alum,  and 
an  ounce  of  tartar  per  pound. 

Water  that  has  been  employed  for  one  alum- bath 
is  better  for  another  preparation  liquor  than  fresh 
water;  so  that  a second  preparation,  or  solution  of  the 
mordant,  produces  brighter  colours  than  the  first:  for 


6 


ihe  cloth  has  taken  away  with  it  all  foulness  and  he- 
terogeneous matter,  and  the  solution  is  clearer. 

Delicate  colours,  such  as  a brimstone  yellow,  and 
carnation,  are  best  dyed  out  of  a preparation  liquor 
that  has  been  twice  used. 

For  crimson  and  false  scarlet  with  Brazil  wood,  the 
mordant  or  preparation  is,  twenty-two  pounds  of 
alum,  and  eight  or  ten  of  tartar  for  the  first  hundred 
pounds  of  cloth;  twenty  pounds  of  alum,  and  eight 
pounds  of  tartar  for  the  next  hundred  pounds,  con- 
tinuing with  the  same  water;  eighteen  pounds  of 
alum,  and  six  pounds  of  tartar  for  the  third  hundred 
and  each  succeeding  one;  for  the  water  will  retain 
much  of  the  mordant.  For  these  colours,  the  boiling 
should  continue  three  hours.  Woollens  boiled  in  the 
preparation  for  fine  colours,  should  be  left  for  some 
days  in  an  underground  room,  or  cellar,  upon  clean 
planks,  but  not  of  oak  wood.  But  weld  colours,  whe- 
ther yellow  or  green,  should  be  dyed  the  day  after 
their  preparation.  Brazil  crimsons  and  scarlets,  may 
stay  a fortnight.  Flocks  of  wool  that  had  been  pre- 
pared with  the  mordant,  were  as  good  at  the  end  of  a 
year  as  the  first  day,  for  alum  is  a preservative. 

The  WATER  used  in  a dye-house,  ought  to  be  tested 
in  the  same  way.  Also,  if  the  water  meant  to  be  em- 
ployed, be  foul  or  hard,  and  not  fit  for  washing,  or 
curdles  soap,  it  is  not  fit  for  dyeing  light  colours.  For 
it  may  be  considered  as  containing  saline  substances, 
which  will  act  as  mordants  where  they  are  not  want- 
ed. This  defect  may  be  remedied  by  throwing  a hand- 
ful of  starch  and  a little  alum  in  the  copper  and  boil- 


7 


ing  and  scumming  it  before  using  it;  or  in  some  de- 
gree, by  boiling  bran  in  it:  but  no  bright  colour  can 
be  obtained  from  foul  or  hard  water.  All  colouring 
DRUGS,  should  be  purchased  as  fresh  as  possible;  they 
should  be  kept  in  a dry  place;  and  not  much  exposed 
to  the  air.  They  should  be  used  rasped  rather  than 
chipped;  where  the  powdery  or  rasped  state  is  objec- 
tionable in  the  copper  boiler,  they  can  be  inclosed  in 
a close  basket  or  in  a bag,  and  occasionally  pressed: 
it  is  great  waste  to  use  them  in  large  chips,  or  in  chips 
of  any  kind.  When  a sample  is  offered,  it  should  be 
tried  as  to  its  richness  in  the  way  above  mentioned; 
that  is,  make  a solution  of  a sample,  and  precipitate  it 
with  acetat  of  alumine.  Acetat  of  alumine  is  made 
thus:  dissolve  one  part,  as  a pound  or  an  ounce  of 
alum  free  from  iron,  in  as  much  water  as  will  dissolve 
it,  that  is,  about  eight  parts  water  to  three  of  alum; 
when  dissolved,  add  one  part  and  a quarter,  as  a pound 
and  a quarter  or  an  ounce  and  a quarter,  of  the  salt 
called  acetat  or  sugar  of  lead;  stir  them  well  together; 
let  the  sediment  subside,  which  is  sulphat  of  lead;  pour 
off,  or  filter  the  supernatant  liquor;  for  the  purpose  of 
this  experiment,  it  may  be  diluted  with  three  waters. 
Instead  of  this  you  may  use  the  scarlet  composition, 
nitro-muriat  of  tin,  or  even  a solution  of  alum;  I pre- 
fer the  acetat. 

Colours  on  woollen,  are  expected  to  stand  exposure 
to  air  and  light;  if  by  these  tests  they  are  fugitive,  in 
so  much  they  are  inferior,  and  (technically)  false  dyes; 
such  for  instance  are  logwood  blacks  and  blues.  In 
cotton  goods,  beside  standing  these  tests,  the  colours 


8 


are  commonly  required  to  stand  also  the  test  of  wash-  j 
ing  with  soap;  though  not  so  frequently  in  dyed  cot-  ; 
tons  as  in  printed  cottons. 

It  is  a general  rule,  admitting  however  of  some  few 
exceptions,  that  colours  obtained  from  barks  and  roots, 
are  more  permanent  than  those  from  woods;  and  these 
latter,  more  so  than  those  from  leaves.  This  rule  ap- 
pears to  me  not  to  apply  to  those  leaves,  which  like 
sumach,  and  perhaps  weld  or  wold,  contain  astringent 
matter;  by  astringent  matter,  meaning  tannin  and  gallic 
acid.  Indeed,  these  two  substances  combined  as  na- 
ture usually  combines  them,  are  powerful  mordants, 
and  have  of  late  years  been  introduced  with  great  suc- 
cess to  give  depth  and  permanency  to  colours;  as  in 
the  Turkey-red  dye.  The  extent  to  which  astringent 
substances  can  be  thus  applied,  is  not  yet  fully  known. 

In  extracting  the  colours  of  many  colouring  drugs, 
as  yellows  and  reds,  it  seems  to  me,  that  a full  .boiling 
heat  ought  generally  to  be  avoided:  180®  or  190®  of 
Fahrenheit  is  generally  more  favourable  to  brilliancy 
of  colour,  than  212".  Hence  I should  approve  of  the 
method  employed  in  the  English  dye-houses,  on  the 
recommendation  of  count  Rumford,  of  boiling  by 
steam;  which  unless  the  copper  be  very  closely  cover- 
ed, which  is  seldom  the  case  in  a dye-house,  does  not  f 
raise  the  water  to  a full  boiling  heat.  Some  colours 
however  require  a continued  boiling,  and  a concentra- 
tion of  the  coloured  liquor,  in  which  case,  the  fire- 
flues  ought  not  to  reach  high  up  the  boiler. 

When  a dye  vat  has  performed  its  oflice  on  cloths 
requiring  full  and  rich  colours,  it  may  often  serve  for 


9 


followers^  (that  is  cloths  of  inferior  quality)  which  may 
be  winced  in  it,  till  the  colour  be  exhausted;  as  is  done 
in  the  indigo  vat,  and  the  scarlet  baths.  In  like  manner 
the  remains  of  drabs  and  olives  are  used  up  for  com- 
mon  blacks. 

Of  CLOTHS  TO  BE  DYED,  wool  retains  colouring 
matter  more  perfectly  than  cotton,  and  cotton  than 
linen.  Hence  of  late,  attempts  have  been  made  to  ani- 
malize  cotton  cloth,  by  impregnating  it  with  animal 
oils,  with  animal  salts  and  mucilage,  or  with  animal 
gelatine  (glue).  The  process  of  the  callicoe  printers, 
who  from  time  immemorial  have  fixed  their  mordant 
by  running  the  piece,  after  being  printed  with  acetat  of 
alumine,  through  sheep’s  dung  or  cow  dung,  and  the 
very  complicated  but  effectual  and  instructive  process 
for  dyeing  Turkey-red,  have  suggested  this  practice; 
which  I believe  succeeds  on  cotton  wherever  it  is  ap- 
plied. In  this  case,  it  seems  to  me  that  there  is  a 
quadruple  chemical  compound,  viz.  the  cotton,  the  base 
of  the  mordant,  the  animal  matter,  and  the  vegetable 
colouring  matter.  In  the  Adrianople  Turkey-red,  I am 
persuaded  it  is  at  least  a quintuple  compound  by  the 
addition  of  the  astringent  matter  furnished  by  the  gall- 
ing. At  all  events  the  Turkey-red  process  may  well 
suggest  the  great  importance  of  galls  and  blood,  or 
other  soluble  animal  matter,  in  dyeing  cotton.  The  soft,- 
ness  to  the  touch,  and  the  velvet  feel  for  which  fine 
cloth  is  admired,  depends  mainly  upon  previous 
scouring. 

It  is  essential  to  a dye-house,  that  it  be  placed 
where  there  is  plenty  of  good  water  to  supply  it,  and 

B 


10 


plenty  of  fall  to  carry  oft'  the  spent  dye-stuft'.  The  ftooi’ 
of  the  dye-house  should  be  of  hard  brick  closely  set, 
with  drains  and  channels  to  carry  off  waste  liquor.  If 
not  of  brick,  it  should  be  of  stone,  or  of  hard  cement, 
or  leached  ashes;  so  as  to  admit  of  being  accurately 
washed.  The  light  should  be  good  and  in  plenty,  with- 
out letting  in  too  much  sunshine:  it  should  come  from 
above;  that  is,  the  bottom  of  the  windows  should  be 
12  or  18  inches  above  the  rim  of  the  coppers:  the 
shade  of  colour  is  thus  most  advantageously  discern- 
ed. There  should  be  conveniences  for  carrying  off 
steam.  The  coppers,  except  one  for  logwood  which 
may  be  of  iron,  should  be  of  brass  or  copper,  and  no 
iron  nails  be  used  about  them.  They  should  have 
covers  to  be  used  occasionally.  The  scarlet  dye-house 
should  be  separate,  and  the  vessels  in  it  should  be  of 
tin,  or  tinned  copper.  It  would  be  better  also,  if  the 
black  and  blue  dyes  were  at  a distance  from  the  other 
colours:  want  of  extreme  cleanliness,  is  a want  that 
occasions  great  waste  and  expense,  which  ultimately 
falls  on  the  dyer.  Over  the  coppers,  should  be  poles 
fixed  in  the  walls  for  the  skeins  and  hanks  to  hang  on, 
that  the  dye-liquor  dripping  from  them,  may  fall  back 
into  the  copper. 

Ladles,  wooden  shovels,  barrels,  ladders  and  bar- 
rows,  nets  and  crosses,  for  wool,  winces  and  reels  for 
piece  work,  shovels  for  lime,  &c.  will  be  provided  of 
course.  The  ladders,  barrows  and  winces,  should  be 
kept  as  much  as  possible  to  the  use  of  one  kind  of  co- 
lour, and  scrupulously  clean.  It  is  common  and  con- 
venient, to  have  a certain  quantity  of  alum  dissolved 


11  - 

in  a given  quantity  of  water  in  a barrel,  to  be  mea- 
sured out  by  the  ladle:  and  so  of  sulphat  of  iron,  and 
iron-liquor  (acetat  of  iron):  where  care  is  taken  not  to 
splash  about,  this  saves  much  trouble. 

In  a dye-house,  no  step  should  be  taken  but  by 
weight  or  measure.  All  guess-work  surely  brings 
waste.  Every  cotton  dye-house,  should  have  a hogs- 
head or  two,  containing  old  iron,  such  as  hoops,  hails, 
fragments  of  all  kinds,  which  should  be  perpetually 
supplied  with  vinegar  brewed  from  cyder,  or  from 
coarse  meal.  The  iron  liquor,  or  iron  dissolved  in 
vinegar,  is  absolutely  essential  to  a good  black  upon 
cotton,  and  is  not  fit  to  use  under  six  months,  and  is 
the  better  for  having  been  made  six  years.  This  iron 
liquor  may  be  made  by  means  of  the  pyroligneous 
acid,  as  it  now  is  almost  universally  in  England;  but, 
I think  the  common  method  of  brewing  vinegar,  is 
best  adapted  for  the  present  state  of  this  country.  The 
pyroligneous  acid,  and  tar  acid,  are  in  fact  vinegar. 

Where  there  is  room  and  convenience,  all  the  parts 
of  the  establishment  should  occupy  their  own  quarter: 
the  scarlet  dye-house,  the  blue  dye-house,  the  black 
dye-house,  should  not  be  intermingled  with  the  ap- 
paratus used  for  other  colours.  Scarlet,  and  blue, 
should  be  alone.  The  black  may  be  contiguous  to  the 
drabs,  olives,  bottle  greens:  or  to  the  chocolates,  but 
should  not  be  next  to  the  pinks  or  yellows. 

All  the  dye-woods  should  be  kept  in  tight  barrels,  well 
guarded  from  damp  and  the  steam  of  the  dye-house. 
The  drug-house  should  be  fitted  up  with  shelves  con- 
^ veniently,  and  the  floor  swept  occasionally;  it  should 


*0 


12 


also  be  well  furnished  with  weights  and  scales,  steel- 
yards, stone- ware  jugs  and  pans;  cleanliness  and  neat- 
ness are  very  frugal  parts  of  every  place  and  every 
process  belonging  to  a dyeing  establishment. 

This  habit  of  cleanliness  should  be  carried  also  as 
far  as  the  tenters  on  which  the  cloths  are  hung:  they 
should  be  frequently  examined,  wiped  always,  and 
washed  when  necessary.  The  tenter  hooks  should  be 
of  copper,  brass  or  some  similar  composition.  Iron  is 
only  admissible  to  black  cloths.  The  tenters  should  be 
under  a shed. 

The  DRYING-HOUSE  is  best  heated  by  means  of 
iron  stoves  with  drum^  and  pipes.  It  is  generally  made 
too  hot,  which  hurts  the  lustre  of  the  colours.  I think 
the  heat  is  often  injurious  when  it  exceeds  from  120® 
to  130°  of  Fahrenheit. 

Stove-rooms  for  drying  goods,  should  not  be 
heated  by  means  of  a current  of  hot  air  thrown  into 
them,  as  rooms  are  warmed  in  large  manufactories. 
There  is  danger  of  a current  of  dust  also.  If  there  be 
current  enough  gradually  to  carry  away  the  steam 
driven  off  in  drying,  it  is  sufficient. 

I suggest  no  improvements  in  the  construction  of 
boilers,  or  the  mode  of  heating  them,  being  persuaded 
that  in  the  present  state  of  the  art  in  this  country,  the 
beaten  path  is  the  most  safe  and  the  most  profitable. 
By  and  by,  as  manufacture  improves,  new  inventions 
may  be  tried;  as  yet,  and  while  we  are  hardly  out  of 
leading  strings,  it  is  too  early. 

Of  the  Drugs  used  in  dyeing.  The  general  remarks 
I have  to  make  on  these  drugs,  will  as  properly  come  . 
in  here  as  elsewhere. 


13 


The  colouring  drugs,  employed  in  dyeing  blacky  arc 
galls,  sumach,  alder  bark,  walnut- peel,  logwood.  In 
printing  callicoes,  madder,  weld,  and  quercitron  are 
also  employed  for  this  purpose,  but  not  generally  in 
dyeing. 

Galls.  Aleppo  galls.  Sometimes  they  are  picked,  and 
the  choicest  sold  as  blue  galls.  They  are  properly  as- 
tringents, and  contain  gallic  acid  and  tannin,  both  of 
which  seem  necessary  to  a full  black  colour.  Indeed 
the  gallic  acid  chemically  separated,  seems  inadequate 
to  the  purpose.  This  is  a dear  article,  and  the  other 
drugs  above  mentioned  are  used  as  substitutes  for 
cheapness  chiefly,  though  not  entirely  so.  But  the  fol- 
lowing  experiment  of  Berthollet  seems  to  prove  that 
the  price  must  be  very  high,  not  to  preserve  to  galls 
their  title  to  preference.  A solution  was  made  of  green 
vitriol,  or  sulphat  of  iron.  Decoctions  were  made  of  a 
quantity  equal  to  1152  parts  of  each  of  the  following 
drugs,  which  were  exhausted  of  their  colouring  mat- 
ter, viz.  Aleppo  galls,  oak  bark,  sumach,  and  logwood. 
The  decoction  of  1152  parts  of  galls,  decomposed  and 
threw  down  a precipitate  from  sulphat  of  iron,  amount- 
ing to  267  parts  of  iron;  the  precipitate  weighed  528 
parts.  The  same  quantity  of  decoction  of  oak  bark, 
precipitated  but  18  parts  of  iron,  and  the  precipitate 
weighed  22  parts.  The  same  result  took  place,  when 
the  heart  of  oak  was  used;  the  precipitate  from  the  sap 
was  still  less.  The  same  quantity  of  decoction  of  su- 
mach, threw  down  162  parts  of  iron.  The  same  quan- 
tity of  decoction  of  logwood,  threw  down  156  parts  of 
iron.  These  numbers  therefore,  give  an  approximation 


14 


to  the  relative  value  of  the  drugs.  Myrobolans  are  an 
excellent  substitute  for  galls.  Catechu,  or  Terra  Japo- 
nica,  is  defective  in  gallic  acid,  though  rich  in  tannin. 

Sumach.  Rhus  coriaria.  It  grows  in  Syria,  Spain, 
Portugal,  Montpelier;  and  plentifully  in  Pennsylvania, 
where  want  of  population,  or  want  of  industry,  prevents 
its  being  gathered.  It  gives  of  itself  a brownish  yellow 
or  fawn  colour.  It  is  used  in  grays,  olives,  drabs,  &c. 
Pennsylvania  sumach  (rhus  glabrum)  is  now  (Decem- 
ber 1814)  worth  sixty  dollars  the  ton  weight. 

Alder  bark:  vulgarly  called  oler,  or  owler  bark.  I 
believe  this  is  not  much  used  as  yet  in  America;  but 
in  England,  particularly  at  Manchester,  its  use  as  an 
astringent  dye,  is  very  extensive:  it  is  about  the  same 
value  with  sumach  as  a dye-drug.  In  France,  they  use 
also  the  outward  peel  of  ripe  walnuts;  Brou  de  Noixy 
and  that  very  generally.  It  gives  without  any  mordant, 
an  agreeable,  and  permanent  brownish  colour  to  wool- 
len, which  is  the  more  valuable,  as  the  cloth  is  softer 
to  the  touch  after  it;  not  being  made  harsh  by  a mor- 
dant, which  always  has  this  effect  more  or  less.  It  well 
deserves  to  be  introduced  here.  Indeed  I consider  it 
as  indispensable.  So  does  the  bear-berry^  arbutus  non 
ursi,  which  is  the  common  substitute  in  Sweden  for 
sumach;  and  grows  in  Pennsylvania:  see  Dr.  Muhlen- 
berg’s catalogue,  page  44.  The  walnut-peel  and  bear- 
berry  both  contribute  to  a black  with  iron,  and  save 
galls,  in  browns  particularly;  but  we  can  do  without 
the  bear-berry,  though  a dye-house  would  be  ill  fur- 
nished without  walnut-peel. 

The  drugs  that  give  a red  or  reddish  dye,  are  mad- 


15 


, der,  madder  roots,  Brazil,  Brazilletto,  Nicaragua, 
j peach,  cam,  bar  wood,  kermes,  lac,  cochineal,  archil. 

; I think  the  santal  or  red  saunders  may  be  dispensed 
with. 

' Madder.  The  common  madder  in  use,  is  the  crop 
, (grappe)  Dutch  or  Zealand  madder,  prepared  and 
I ground  in  Zealand,  previous  to  exportation.  The 
I fresher  the  plant  so  prepared,  the  better.  It  grows  in 
j any  part  of  Pennsylvania  just  as  well  as  in  the  Nether- 
' lands,  provided  the  ground  be  good.  At  the  settlement 
I of  Harmony,  about  twenty  miles  from  Pittsburgh,  they 
put  in  annually  eight  or  ten  acres  of  madder  for  their 
own  consumption;  they  use  a great  deal,  but  none  ex- 
cept what  they  raise  upon  their  own  lands.  The  only 
precaution  in  purchasing  crop  madder,  is,  that  it 
should  look  of  a bright  yellowish  red-brown,  and 
smell  fresh  and  sweetish.  It  would  be  one  of  the  most 
profitable  crops  a farmer  could  put  in,  in  this  country; 
and  it  is  neither  difficult  to  raise  or  to  cure. 

Madder  roots.  These  are  small  long  roots  of  mad- 
der, usually  imported  in  that  state  from  Smyrna, 
grown  at  Lizari,  and  universally  used  in  the  Levant 
for  the  Turkey  or  Adrianople  red.  In  Manchester, 
every  attempt  to  dye  this  very  fine  colour  with  crop 
madder  has  failed;  it  will  produce  a good  colour,  but 
not  that  rich  full  bright  red,  which  characterizes  this 
dye,  and  which  has  not  yet  been  produced  but  by  means 
of  Smyrna  madder  roots.  A cargo  imported  into  this 
country,  and  distributed  for  planting,  would  be  a na- 
tional present.  They  succeed  now  in  England.  About 
three  years  ago,  I procured  some  roots  from  Europe, 


16 


and  distributed  them  here,  but  they  have  been 
neglected. 

Brazil.  This  is  a wood  exported  from  Surinam, 
growing'  in  the  neighbourhood  of  Fernambouca. 
Doubtless  the  richest  in  colour  of  all  the  dye-woods; 
but  like  the  dye  of  almost  all  woods,  it  is  fugitive.  A 
small  quantity  gives  a liveliness  and  a bloom  to  mad- 
der reds,  that  improves  them  greatly.  It  is  an  excellent 
substitute  for  cochineal  in  cheap  scarlets  and  crim- 
sons. VVe  get  little  of  it  now;  but  neither  dyer  or 
printer  can  well  dispense  with  it. 

Brazilletto.  This  is  an  inferior  kind  of  Brazil  wood, 
and  substituted  for  it. 

Nicaragua,  Peach,  Cam,  and  Bar  Woods.  These 
also  are  now  imported,  and  used  as  very  inferior  and 
cheap  substitutes  for  Braziland  Brazilletto.  It  would  be 
well  worth  while  to  make  a set  of  comparative  experi- 
ments, as  to  the  quantity  and  brightness  of  colouring 
matter  they  contain,  for  the  purpose  of  ascertaining 
their  relative  value.  The  nitro-muriat  of  tin  should  be 
the  precipitant  for  these  woods.  The  colour  being 
equal,  their  relative  values  will  be  accurately  expres- 
sed by  the  quantity  of  tin  which  the  decoction  from  a 
given  weight  of  w^ood  will  throw  down  combined  with 
colouring  matter.  Indeed  no  dyer  ought  to  purchase 
these  woods,  without  subjecting  a sample  to  this  test. 
It  is  great  extravagance  to  use  these  woods  unrasped. 

Kermes.  This  is  an  insect  (coccus  ilicis,  Linn.)  for- 
merly used  for  dyeing  what  were  called  “ colours  in 
grain,”  the  kermes  having  the  appearance  of  a red 
grain.  It  is  now  superseded  by  the  richer  dye  of  the 


17 


cochineal  which  is  not  half  so  permanent,  though 
brighter.  It  appears  to  me,  that  kermes  would  be 
worth  importing  at  the  present  price  of  cochineal. 
Their  relative  values  might  be  tried  in  the  way  I pro- 
pose, so  far  as  relates  to  the  quantity  of  colouring 
matter  contained. 

Stick  lac:  seed  lac:  shell  lac.  The  red  colouring 
matter  of  the  resin  lacca,  (choosing  the  stick  lac)  is 
very  frequently  used  as  a dyeing  material  on  the  con- 
tinent of  Europe;  but  in  England,  I believe  lac  is  only 
used  for  sealing-wax,  and  black  Japan  varnish. 

Cochineal.  This  is  an  insect  whose  fluids  are  colour- 
ed red,  by  feeding  upon  the  red  juices  of  the  opuntia 
or  prickly  pear.  Mr.  Andrew  Ellicot  informs  me,  that 
the  prickly  pear  grows  in  most  luxuriant  abundance, 
on  all  the  small  islands  opposite  the  American  coast 
from  Carolina  to  the  Mississippi.  If  so,  it  may  become 
in  time  an  article  of  cultivation  worth  attention,  to 
people  the  opuntia  with  the  cochineal  insect,  and  col- 
lect them  there. 

Archil.  Orseille,  roccella  of  the  French.  A moss  or 
lichen,  which  when  prepared  with  urine,  is  used  for 
inferior  reds  and  purples,  particularly  in  dyeing  silk. 
It  is  the  plant  of  which  the  turnsole  is  made.  The 
usual  chemical  test  of  neutralization.  I do  not  know 
whether  we  use  it  much  here,  but  I do  not  see  how 
the  silk  dyer  can  conveniently  dispense  with  it. 

There  is  only  one  drug  used  for  dyeing  a true  pink 
colour,  to  wit,  carthamus  or  safflow'er.  An  imitation  of 
pink,  or  rather  a rose  colour,  can  be  produced  by  mad- 
der, with  a little  Brazil;  but  I know  of  no  substance 

C 


18 


that  gives  a true  pink  except  safflower.  The  mode  of 
preparing  it  for  the  purpose,  will  be  detailed  when  I 
come  to  the  colour  pink. 

Mahogany  sawdust  or  shavings,  are  very  useful  for 
dyeing  a nankeen  colour,  on  cotton. 

The  drugs  used  for  the  purpose  of  dyeing  yellow^ 
are  weld  or  wold,  quercitron,  old  fustic,  young  fustic, 
yellow  berries,  turmeric,  zedoary,  saffron,  golden  rod, 
barberry  root. 

Weld  or  wold,  (not  woad,  which  is  a different  sub- 
stance).  Reseda  luteola.  This  is  a plant  grown  in  great 
quantities  in  France,  and  in  Yorkshire  and  Kent  in 
England,  and  might  be  grown  to  great  advantage  in 
any  part  of  Pennsylvania.  It  is  the  only  drug  used  by 
the  London  dyers,  and  callicoe  printers,  for  their  finest 
and  fastest  yellow  upon  chintz  patterns.  Altogether, 
there  is  no  yellow  drug  to  be  compared  with  it  in  per- 
manency and  brilliancy.  The  colour  requires  blue 
vitriol  or  sulphat  of  copper  to  be  added  to  the  alumi- 
nous mordant.  It  might  be  grown  in  Pennsylvania  as 
easily  as  rye. 

Querceton  bark,  or  rather  quercitron,  quercus  citri- 
na,  lemon-coloured  oak;  the  inner  bark  of  the  black 
oak,  quercus  nigra.  It  is  a good,  a permanent,  and  a 
cheap  dye;  not  quite  so  bright,  and  not  quite  so  per- 
manent however  as  weld.  But  for  common  calicoes 
and  ehintzes,  and  for  patterns  that  are  quickly  wanted 
in  the  market,  it  is  preferred  to  weld  or  wold,  because 
the  stain  given  to  the  white  part  of  the  piece,  is  sooner 
discharged  on  the  bleach-green.  Dr.  Bancroft’s  book 
was  principally  intended  to  promote  the  sale  and  the 


19 


use  of  this  drug,  which  he  has  a patent  for  importing 
into  England;  and  doubtless,  it  has  proved  a valuable 
acquisition  to  the  dyer  and  printer.  The  modes  of  using 
it  to  the  best  advantage  have  been  detailed  by  Dr. 
Bancroft,  whose  publication  contains  much  experi- 
ment worthy  of  attention. 

Old  Fustic.  This  is  the  bois  jaune,  the  yellow  wood 
that  comes  to  us  in  logs,  and  therefore  distinguished 
by  the  English  dyers,  as  old  fustic.  It  is  used  much 
for  drabs,  olives,  &c.,  and  the  callicoe  printers  use  it 
for  their  common  yellows.  It  will  not  bear  above  one 
or  two  washings.  The  colour  is  rendered  more  perma- 
nent when  used  in  dyeing,  as  it  generally  is,  with 
sumach. 

Young  Fustic.  Fustet  of  the  French;  Venice  sumach. 
Of  no  peculiar  value;  it  furnishes  a reddish-orange 
colour,  while  old  fustic  gives  only  a golden  yellow. 

Yellow  Berries.  Grains  d’Avignon.  These  require  no 
mordant,  but  they  do  not  produce  a fast  colour.  The 
silk  dyers  use  them.  And  these  berries  furnish  the 
only  chemical  yellow  used  by  the  callicoe  printers  of 
Manchester.  For  this  purpose,  a strong  decoction  is 
made,  and  mixed  in  the  proportion  of  a gallon,  with 
half  a pint  of  nitrat  of  iron,  which  retains  its  buff  co- 
lour, when  the  yellow  of  the  berries  fades. 

Turmeric.  This  drug  also  is  not  improved  in  colour 
or  fastness  by  the  common  mordants.  I believe  it  is 
only  used  by  the  silk  dyers.  It  is  very  fugitive. 

Zedoary.  The  same  remarks  apply  to  this  root. 

Saffron.  The  French  saffron  is  the  best.  It  is  full  of 
colour,  but  too  dear  for  common  use,  and  not  perma- 
nent. It  is  the  common  family  yellow  dye. 


20 


Golden  rod.  Solidago.  A very  common  plant  on  all 
the  rich  bottom  land  of  Pennsylvania  and  the  Genesee 
country,  in  its  natural  state.  It  gives  a tolerable  good 
and  fast  yellow,  and  might  answer  in  point  of  cheap- 
ness for  common  work.  So  also  might  the  hickory 
tree,  and  the  common  arsmart,  (pusicaria  urens,  poly- 
gonum pusicaria;)  but  unless  in  cases  of  scarcity,  a 
dyer  does  better  with  three  or  four  known  drugs  easily 
procured  though  imported,  that  he  is  in  the  habit  of 
managing,  than  with  a numerous  catalogue  of  materia 
tinctoria.  This  will  apply  also  to  the  sarrettCy  seratula 
tinctoria,  used  in  France,  but  little  known  in  England; 
and  to  the  yellow  broom,  genista.  Lately  also,  the 
Lombardy  poplar,  which  the  experiments  of  M.  Dam- 
bournay  have  brought  into  vogue,  with  good  reason. 

Barberry  root.  Berberis.  This  is  a rich  and  bright 
colour,  and  exclusively  used  by  the  red  morocco 
dyers,  to  mix  with  their  cochineal  red.  I cannot  tell 
the  exact  reason  of  preference.  In  Pennsylvania  they 
import  the  Barberry  root  from  Boston:  I do  not  see 
why  we  cannot  raise  it  at  home.  It  ought  to  be  in  every 
garden.  The  fruit  makes  an  excellent  tart,  and  a beau- 
tiful pickle. 

The  Birch  tree  furnishes  a very  useful  colour  for 
woollens,  and  is  much  used  by  the  French  dyers. 

Soot  is  also  used  by  the  French  dyers  for  black- 
browns:  they  consider  it  indispensable  for  tapestry 
work. 

The  drugs  used  for  a blue  colour,  are  indigo,  pastel, 
wo  id. 

Indigo  is  furnished  by  Guatimala,  by  South  Caro- 
lina, by  the  East  Indies. 


■ 4 


•Sr- 


‘\vvV  i^MkAui. 


I 

■*Mt 


« 


' 1 


"I 


■*■  « 


\ . 

' .\' 

'h.  ' . 

■ 1 


V, 


; » 


I 


% 


-Fa.ee po-^e  21 . 


IMiFs  for  C-nn3xrip  Indipo  . 


21 


Guatimala  Indigo,  is  the  lightest  and  the  best;  it  is 
called  Flora  indigo,  and  flotant  or  floating  indigo  from 
its  swimming  on  water:  but  it  is  too  dear. 

The  indigo  manufacture  of  South  Carolina,  is  al- 
I most  abandoned. 

The  principal  source  of  our  supply  is  the  East  In- 
dies, where  the  price  is  greatly  enhanced.  I remember 
East  India  indigo  at  half  a dollar  a pound  in  Manches- 
I ter.  The  indigo  must  be  ground  for  half  a day  in  a 
mortar  with  a twelve  or  eighteen  pound  cannon  ball. 
1 Or,  as  the  indigo  dyers  in  the  back  country  grind  it, 
by  working  a small  millstone  inside  a stone  trough 
with  a spout  to  it.  The  millstone  being  turned  round 
by  the  crank- handle  of  an  iron  bar,  one  end  of  which 
is  let  into  a beam  in  the  ceiling,  and  the  other  into  the 
centre  of  the  millstone.  The  man  turns  it  round  by 
laying  hold  of  the  crank.  It  works  inside  a stone  trough 
about  three  inches  deep,  and  the  trough  is  set  by 
means  of  a screw  underneath,  that  raises  it  nearer  to, 
or  depresses  it  from  the  millstone.  The  trough  has  a 
spout  in  it.  The  end  in  the  beam,  works  in  a pivot.  A 
hole  can  be  cut  any  where  in  the  stone  to  feed  it  with 
indigo  and  a stopper  adapted  to  it.  There  is  a machine 
something  of  the  same  kind  invented  and  used  by  Mr. 
Charles  Taylor,  afterward  Dr.  Taylor,  of  Manchester; 
viz.  an  iron  ball  with  a slit  in  it,  worked  by  a crank- 
handle  in  a mortar.  The  slit  increases  the  friction. 
(See  the  figures  in  the  plate.)  The  indigo  should  be 
worked  first  dry:  then  in  a paste.  It  is  advantageous 
for  fine  colours,  to  wash  it  well  in  hot  water  after  it  is 
ground,  to  extract  a great  deal  of  dirty  matter  com- 


I 


22 


bined  with  it.  There  is  not  much  above  one  half  the 
weight  of  the  indigo  of  real  colouring  matter.  How- 
ever, this  differs  so  greatly  in  proportion  to  the  quan- 
tity, that  no  rule  can  be  laid  down  concerning  it.  When 
the  indigo  is  patiently  and  accurately  ground,  it  should 
be  mixed  with  water  in  a pan  not  too  shallow  but 
rather  so;  and  then  the  indigo  being  left  to  settle  for 
two  or  three  minutes  that  the  unground  particles  if 
any,  may  fall  to  the  bottom,  the  pan  should  be  turned 

round  backward  and  forward,  in  a vessel  of  water  in 

% 

a half  circle,  till  the  finer  parts  of  the  indigo  in  the 
pan  are  gently  thrown  out,  so  that  if  there  be  any 
lumps,  they  may  be  ground  over  again.  It  is  essential 
that  the  indigo  be  in  an  impalpable  powder,  first  to 
save  it — to  make  it  go  farther;  and  secondly,  to  se- 
cure evenness  in  the  dyeing  of  the  pieces.  This  drug 
is  so  dear,  that  these  directions  ought  to  be  strictly 
adhered  to.  If  they  are  well  followed,  and  the  indigo 
carefully,  and  laboriously  ground  into  a perfectly  fine 
powder,  six  pounds  and  a quarter  of  the  best  East 
India  indigo,  may  be  made  to  dye  one  hundred  pounds 
weight  of  cloth,  a full  deep  blue. 

Pastel.  Woad.  These  are  much  used,  both  on  the 
continent  of  Europe  and  in  England,  to  save  indigo. 
The  woad  is  distinguished  into  the  field  woad  and  the 
garden  woad  or  pastel;  but  they  amount  to  the  same 
thing.  The  plant,  isatis,  glastum,  is  much  cultivated 
in  Holland  and  in  Languedoc  in  France;  and  made  up 
in  bundles  or  bales  of  about  a hundred  and  fifty  pounds 
weight.  It  resembles  little  clods  of  dry  earth  of  a mud 
colour,  with  fibres  interwoven  in  them.  It  is  suffered 


23 


to  undergo  a kind  of  putrefaction,  and  then  made  into 
masses  to  dry.  Berthollet  details  the  process,  which 
will  be  worth  consulting  when  we  grow  it  at  home,  as 
we  ought  to  do.  It  appears  to  furnish  a fecula  of  the 
I nature  of  indigo,  and  equally  fast;  and  indeed  it  is 
used  for  the  purpose  of  saving  indigo;  I am  in  doubt 
I whether  much  is  gained  by  it  altogether  here;  and 
i considering  the  value  of  labour,  perhaps  we  do  not 
I lose  much  by  confining  our  blues  to  the  indigo  vat. 
i BiU  if  it  were  not  of  use  in  Europe,  it  would  not  be 
so  universally  employed.  I have  heard  but  of  one  par- 
cel hitherto  imported  into  this  country  (1814).  The 
mode  of  using  it  will  be  detailed  under  the  blue  dye. 

Annatto.  Spanish  Annatto,  Rocou.  A reddish  or 
brownish-red  paste,  brought  from  South  America  and 
prepared  from  the  seeds  of  the  bixa  orellana.  It  is  used 
for  orange  colours,  and  salmon  colours  upon  silks;  but 
very  little  in  the  woollen  or  cotton  dye.  The  solvent 
is  an  equal  weight  of  pot  or  pearl  ash,  boiled  with  it  in 
water.  This  is  Scot’s  patent  nankin  dye.  The  colour 
is  fugitive,  being  destroyed  both  by  the  air,  and  by 
washing.  When  nankin- coloured  breeches  or  panta- 
loons are  washed,  a little  of  this,  mixed  with  the  last 
rincing,  gives  a kind  of  nankin  tinge  to  the  faded  cot- 
ton. It  is  used  also  to  colour  cheese. 

The  dyer  will  also  want  drugs  for  mordants  and 
tests.  Oil  of  vitriol;  aqua  fortis;  spirit  of  salt;  common 
salt;  sal  ammoniac;  tin;  bismuth;  alum;  green  vitriol; 
green  copperas  or  sulphat  of  iron;  acetat  of  iron;  blue 
vitriol  or  sulphat  of  copper;  verdigris;  yellow  orpi- 
ment;  argol;  pot  and  pearl  ash;  lime;  prussiat  of  pot- 
ash; tincture  of  galls. 


'24- 


Oil  of  vitriol^  concentrated,  or  strong  sulphuric  acid. 
This  will  be  wanted  to  dissolve  indigo  for  Saxon  blue, 
used  chiefly  for  silks.  It  ought  to  be  limpid  as  water. 
If  it  be  not  so,  it  (the  oil  of  vitriol)  must  be  boiled  in 
a glass  or  leaden  vessel  till  it  becomes  limpid:  this  may 
be  done  in  a retort  in  a sand  bath  over  a fire:  or  it  may 
be  boiled  in  small  quantities  in  a glass  capsule,  or  in 
a Florence  flask;  adding  a very  small  quantity  of  pure 
nitre.  It  ought  to  weigh  twenty-nine  and  a half  ounces 
to  the  wine  pint.  The  indigo  ought  to  be  well  ground, 
and  well  washed  in  boiling  water  till  it  comes  ofif  clear, 
and  then  dried,  before  it  is  put  to  dissolve  in  the  oil  of 
vitriol.  If  the  oil  of  vitriol  be  not  very  strong,  it  will 
not  dissolve  the  indigo. 

Aqua  fortis^  or  strong  nitric  acid:  colourless.  This 
will  be  wanted  to  make  the  scarlet  composition,  and 
the  bismuth  solution.  It  ought  to  be  freed  from  sul- 
phuric acid  by  nitrat  of  barytes,  and  from  muriatic 
acid  by  nitrat  of  silver.  I shall  dilate  upon  this  when  I 
come  to  the  scarlet  dye. 

Spirit  of  salt,  or  muriatic  acid.  This  should  be  clear- 
ed from  the  contamination  of  volatile  sulphureous  acid, 
by  means  of  muriat  of  barytes.  If  the  dyer  be  not,  as 
he  ought  to  be,  chemist  enough  to  do  this  for  himself, 
he  should  employ  a chemist  to  do  it  for  him. 

Common  salt  requires  no  observation;  nor  is  it  often 
wanted,  although  the  French  use  it  with  bismuth  dis- 
solved in  aqua  fortis. 

Sal  ammoniac.  All  the  precaution  about  this  drug, 
necessary  to  be  observed  is,  to  ascertain  whether  it 
contains  accidentally  any  iron.  If  it  does,  it  will  sadden 


25 


the  scarlet  colour.  It  must  be  tried  for  this  purpose 
with  prussiat  of  potash  or  of  lime,  and  with  tincture 
of  galls.  The  dirt  should  be  scraped  oft  the  lumps. 

Tin.  The  remarks  I have  to  make  on  the  solution  of 
tin,  I shall  reserve  for  the  section  on  the  scarlet  dye. 

Bismuth.  The  solution  of  this  semi- metal,  lately  in- 
troduced in  France,  for  the  bright  clarets,  violets,  &c. 
I shall  give  when  I come  to  those  colours. 

Alum.  The  Roman  and  the  English  alum,  are  gene- 
rally free  from  iron.  Whatever  alum  is  purchased, 
must  be  tested  to  ascertain  its  purity  in  this  respect. 
If  it  be  found  to  contain  iron,  and  no  good  alum  can 
be  procured,  dissolve  your  alum  in  boiling  water,  and 
expose  it  for  a week  or  fortnight  in  shallow  vessels  to 
the  air.  The  iron  will  gradually  become  oxyded,  and 
separate  in  the  form  of  rust.  Filter  the  solution,  evapo- 
rate the  water,  and  recrystallize  it.  Some  recommend 
passing  oxymuriat  gas  through  the  solution,  or  boiling 
it  with  a small  quantity  of  nitric  acid:  but  the  method 
I propose  is  more  simple  and  as  effectual,  with  patience. 

Green  Vitriol.  Sulphat  of  iron.  Green  copperas.  This 
is  used  to  strike  a black  colour  with  astringent  vege- 
tables, and  also  to  de-oxydize  or  de-oxygenate  indigo, 
and  thereby  render  it  soluble  in  alkali,  and  in  lime.  It 
should  be  purchased  of  a light  green  colour,  in  large 
crystals,  free  from  rust  on  the  outside  as  much  as 
possible,  and  should  be  kept  close,  and  not  exposed  to 
the  air.  The  air  oxyds  the  iron,  which  falls  down  from 
the  solution  in  a rusty  state,  and  the  solution  becomes 
acid.  A solution  of  green  vitriol,  should  be  kept  with 
a piece  of  iron  in  it,  to  remedy  this.  It  is  true  the  rust 

D 


26 


( 


of  iron  will  strike  a deeper  black  than  the  fresh  made 
green  vitriol,  but  it  is  the  latter  only  that  can  be  applied 
evenly  and  regularly  as  a mordant;  and  exposing  the 
cloth  to  air,  makes  the  black  perfect.  Moreover  in  the 
blue  dye,  iron  already  oxyded,  is  of  no  use  in  abstract- 
ing 0x3  gen  from  the  indigo.  These  remarks  should  be 
attended  to. 

Nitrat  of  Iron.  An  admirable  mordant  where  the 
cloth  will  bear  the  expense. 

Acetat  of  Iron.  No  good  black  can  be  struck  on 
callicoe  by  means  of  any  other  mordant,  than  acetat 
or  pyrolignat  of  iron,  which  are  the  same  thing.  A 
hogshead  containing  any  old  rusty  fragments  of  iron 
should  be  filled  with  vinegar,  which  may  be  brewed 
for  the  purpose,  either  from  cider  or  from  meal  of  any 
kind.  It  should  be  frequently  stirred,  and  in  about  six 
months  it  will  be  tolerably  good.  1 do  not  know  that 
the  value  of  this  combination  of  acid  with  iron,  has 
been  tried  in  the  woollen  or  silk  dye,  but  I suspect  it 
would  be  worth  while. 

Blue  Vitriol,  or  sulphat  of  copper.  Blue  copperas.  If 
this  be  rusty  on  the  outside,  it  is  contaminated  with 
iron.  Dissolve  it  in  bcnling  water,  expose  it  in  shallow 
pans  to  the  air:  filter  it,  and  recrystallize  it,  if  it  be 
wanted  free  from  iron.  It  is  so  wanted,  when  it  is  used 
as  a partial  mordant  to  weld  yellows;  but  it  is  not  of 
much  consequence  when  merely  used  for  a false  blue 
dye  with  logw^.od:  or  with  logwood  in  finishing  the 
blacks  of  woollen  cloth  or  of  hats. 

Verdigrease:  verdigris.  I think  this  is  better  for 
being  kept  slightly  moistened  with  vinegar.  This  drug 


27 


is  now  so  dear,  that  a precipitate  of  sulphat  of  copper 
(blue  \itriol)  by  means  of  potash  may  be  substituted 
for  it.  Verdigris  might  be  manufactured  to  great  profit 
in  Pennsylvania,  by  means  of  the  fox  grape.  It  is 
preferable  to  blue  vitriol. 

Yellow  Orpiment.  For  the  indigo  vat.  Generally  con- 
fined to  callicoe  printers. 

Bismuth  in  nitric  acid  has  of  late  years  been  intro- 
I duced  among  the  French  dyers  as  a mordant,  but  not 
j generally. 

I Argol,  or  tartar,  red  and  white.  This  is  essential  to 
the  dyeing  of  the  greater  part  of  the  colours  fixed  on 
woollens  by  means  of  mordants.  The  addition  of  argol 
to  alum,  tin,  iron,  and  bismuth,  serves  to  brighten 
the  colour  and  render  it  more  permanent  on  woollen, 
but  not  on  cotton;  which  seems  to  take  a better  colour 
with  the  acetats,  where  the  price  will  permit  them  to 
be  used.  Dyers  have  a notion  that  red  argol  is  better 
for  some  colours  than  white,  and  vice  versa;  but  1 do 
not  think  there  is  any  good  reason  of  preference.  I am 
not  W'ell  satisfied  on  the  theory  of  tartar  as  necessary 
to  the  dyeing  of  woollen;  but  1 think  it  prevents  the 
alum  from  crystallizing,  and  weakens  the  affinity  of 
the  sulphuric  acid. 

Pot  and  Pearl  Ash.  Pearl  ash  is  too  often  adulterated 
with  common  salt.  If  a sample  of  it  will  not  deliquesce 
or  absorb  moisture,  on  exposure  to  air,  it  is  not  good. 

Lime.  This  should  be  purchased  fresh,  slacked  im- 
mediately, and  packed  down  into  tight  casks,  closed 
tightly  also  on  top  from  the  air.  If  not  slacked  first, 
the  steam  and  moisture  in  a dye-house  will  be  apt  to 
slack  it,  and  even  set  fire  to  the  casks  in  some  cases. 


28 


Prussiat  of  Limey  and  of  Potash;  and  Tincture  of 
Galls.  These  should  be  kept  as  tests  of  the  presence  of 
iron.  Prussiat  of  potash  is  made  thus:  take  a clear  strong 
solution  of  potash:  add  to  it  while  boiling  in  a Florence 
flask,  powder  of  Prussian  blue,  while  it  continues  to 
deprive  the  Prussian  blue  of  its  colour,  and  converts 
it  into  a rusty  brown:  when  on  the  addition  of  a little 
more  Prussian  blue  it  ceases  to  have  this  effect,  then 
filter  it  and  bottle  it  for  use.  If  the  alkali  was  very 
strong,  it  may  be  diluted  with  an  equal  quantity  of  dis- 
tilled or  snow  water.  A single  drop,  will  convert  iron 
into  Prussian  blue  again.  Prussiat  of  lime,  which  is  in 
some  cases  preferable,  is  made  in  like  manner. 

For  tincture  of  galls;  take  an  ounce  of  powdered 
galls,  and  digest  them  in  a moderate  warmth  in  a quart 
of  fourth  proof  spirit,  or  whiskey,  for  a couple  of  days. 
Then  filter  it.  A drop  will  produce  an  inky  tinge  when 
any  iron  is  present.  There  will  also  be  wanted, 

A thermometer  in  a tin  case,  such  as  the  brewers 
make  use  of;  this  will  be  very  useful. 

A dyer's  establishment  then,  will  eonsist  of 
. A drug  house,  with  shelves,  steelyards,  weights  and 
scales,  pans,  &c. 

A common  dye-house,  with  holes  or  flues  to  let  out 
the  steam:  furnished  with  the  necessary  vats,  cop- 
pers, casks  and  boilers.  The  fires  on  the  outside. 

A scarlet  dye-house,  if  he  dyes  scarlet. 

A fulling  mill  for  cleansing  the  pieces  when  dyed. 

A field  contiguous  to  the  house,  for  drying  goods  in 
the  open  air,  under  a shed. 


29 


A stove-house,  with  iron  stoves,  drums  and  pipesi 

A finishing  room  and  packing  room. 

A store  and  compting- house. 

Coppers,  vats,  winces,  ladders,  barrows,  shovels, 
and  other  utensils. 

A separate  set  of  vats  for  the  blue  dye  of  cotton 
goods. 

In  the  whole  establishment,  much  of  the  profit  will 
depend  upon  an  accurate  and  incessant  attention  to 
cleanliness;  and  next  to  that,  a constant  employment  in 
every  process,  of  weight  and  measure;  and  the  keeping 
memoranda  wherever  any  new  process  is  attempted. 
Nothing  should  be  left,  if  it  can  be  prevented,  to 
guessing  or  conjecturing,  or  to  hazard. 


30 


/ 

I 

^I'HE  DYEING  OF  WOOLLEN. 


All  colours  are  better  dyed  in  the  wool,  than  in 
the  piece.  It  is  evidently  more  difficult  to  make  the  dye 
penetrate  perfectly  through  the  twist  of  piece  goods, 
than  through  the  loose  fibres  of  the  wool.  In  this  coun- 
try, where  weavers  are  in  such  demand,  that  they 
sometimes  refuse  to  weave  dyed  wool,  piece  goods 
are  dyed,  but  never  so  well.  By  and  by,  as  manufac- 
tures extend,  this  will  be  altered;  as  it  ought  to  be.  • 

Before  wool  can  be  well  dyed,  it  must  be  cleansed 
from  its  natural  grease,  which  seems  much  more 
abundant  in  the  wool  of  merino  sheep,  than  in  any 
other.  No  cloth  can  receive  so  bright  a colour,  nor  can 
it  have  the  same  soft  velvety  character  to  the  touch  and 
to  the  eye-sight,  if  it  be  dyed  without  scouring,  as  if 
it  be  scoured.  The  brightness  of  the  colour  is  also  im- 
proved by  sulphuring,  but  I do  not  think  it  is  thus 
improved  to  the  touch  or  feeling.  I think  no  dye  can 
so  thoroughly  penetrate  unscoured  as  scou  ed  wool. 

To  cleanse  or  scour  wool.  That  is,  raw  wool.  In  a 
clean  boiler  of  any  kind  that  will  hold  twenty  mea- 
sures of  whatever  kind,  put  three  measures  of  stale 
urine,  and  twelve  measures  of  water:  bring  the  liquor 
to  a moderate  heat,  never  to  reach  130°  of  Fahrenheit; 


31 


about  120  is  the  proper  temperature.  Put  the  wool  to 
be  scoured  in  a net  loosely;  about  four  pounds  to  each 
pailful  of  urine.  Work  it  about  for  twenty  minutes, 
then  take  it  out  and  wash  it  well. 

Or  treat  wool  in  the  same  way  with  one  pound  of 
soft  soap  to  about  twenty- five  pounds  of  wool,  for 
coarse,  or  fine  hard  soap  for  fine  goods.  The  colour 
will  be  better  for  using  white  soap.  Take  care  the 
heat  is  kept  under  130”,  and  that  the  wool  is  not  kept 
in  more  than  twenty  minutes.  Good  soap  is  too  dear 
to  be  used  for  this  purpose  unless  for  fine  goods. 

Or  to  a hundred  pounds  ofraw  wool,  take  a bushel 
of  bran  and  a pound  of  potash.  When  you  use  pot- 
ash the  heat  should  not  exceed  120"  of  Fahrenheit. 

If  a net  be  not  used,  the  wool  can  be  taken  out  and 
laid  on  ladders  across  the  copper. 

The  washing  and  beetling  must  be  continued  while 
any,  the  least  dirty  tinge  appears  in  the  water.  Wool 
will  sometimes  lose  nearly  a fourth  of  its  weight  by 
this  indispensable  operation. 

Boiling  sets  the  grease,  and  injures  the  wool. 

As  oil  is  often  used  in  spinning  wool,  the  propor- 
tions must  be  greater  in  this  case  of  urine  or  soap.  A 
little  potash  may  also  be  added,  where  oil  has  been 
used  to  the  yarn;  but  cautiously,  for  potash  acts  on 
wool.  If  potash  be  used  alone  to  cleanse  oiled  yarn,  use 
one  pound  potash  to  fifty  pounds  yarn,  at  the  heat  of 
120  at  the  highest. 

The  wool  of  diseased  sheep  can  never  be  well  scour- 
ed. If  in  the  usual  mode  of  scouring  the  wool  con- 
tinues dirty,  a disease  may  be  suspected. 


32 


If  the  wool  be  intended  for  any  fine  and  bright  co- 
lours, it  will  be  the  better  for  being  either  sulphured, 
or  exposed  for  a day  to  the  action  of  the  sulphureous 
acid. 

W oollen  is  sulphured^  by  being  hung  up  on  very 
clean  pegs  or  laths  in  a close  room,  but  with  a window 
in  it,  and  exposed  to  the  fumes  of  burning  brimstone 
on  earthen  dishes  beneath,  for  ten  or  twelve  hours; 
then  washed  well.  This  is  generally  repeated.  See  the 
sulphuring  of  silk. 

Or  it  may  be  improved  in  colour,  by  immersing  it 
for  twelve  hours  in  oil  of  vitriol  made  quite  black  by 
throwing  into  it  cork,  flour,  rosin,  or  sugar,  and  then 
diluting  the  acid  till  it  be  about  the  strength  of  com- 
mon vinegar;  wash  the  cloth  afterward  thoroughly. 
These  acid  processes  are  not  often  used,  but  for  fine 
goods  and  lively  colours,  in  England;  and  in  ihi-s  coun- 
try may  be  dispensed  with,  for  all  common  colours. 
Sulphuring  is  best,  and  cheapest.  The  impregnation 
of  water  with  sulphureous  acid  gas,  is  too  trouble- 
some. All  goods  to  be  dyed,  require  to  be  soaked  in 
water  previously,  and  then  pressed,  that  they  may  im- 
bibe the  colour  evenly.  This  ought  also  to  be  done 
previous  to  aluming.  It  should  be  done  in  water 
brought  to  a scalding  heat.  But  when  cloths  are  well 
scoured,  this  preliminary  soaking  is  not  absolutely 
necessary  for  aluming,  although  it  is  for  dyeing. 

Homassel’s  directions  for  sulphuring  are  as  follow. 
The  room  should  be  close:  for  the  sulphureous  vapour, 
will  spoil  all  the  colours  in  the  vicinity.  The  window 
should  open  on  the  outside,  and  also  the  door,  for  it  is 


33 


frequently  necessary  to  stretch  or  to  turn  the  goods. 
The  perches  which  serve  for  silk  as  well  as  woollen 
should  be  kept  very  clean.  Examine  the  sulphur,  that 
there  be  no  accidental  dirt  or  mixture  capable  of  pro- 
ducing smoke.  Burn  it  in  an  earthen  dish  or  an  old 
mortar  of  any  kind  but  iron.  Before  you  burn  it  within 
side  the  room,  set  fire  to  it  out  of  doors,  that  you  may 
be  sure  it  will  not  smoke.  Leave  the  goods  exposed 
to  this  vapour  twelve  hours,  and  then  diy  them.  This 
is  the  common  process. 

But  it  is  sufficient  simply  to  detail  this  process,  to 
discover  how  imperfect  it  is.  The  sulphureous  acid 
here,  does  no  more  than  attach  itself  to  the  surface,  and 
does  not  penetrate  the  interior  of  the  silk,  so  that  the  • 
outside  only  is  hereby  parually  bleached.  By  employ- 
ing the  modern  discoveries  of  the  properties  of  this 
sulphureous  acid,  we  can  establish  a practice  founded 
on  surer  principles. 

The  sulphureous  acid,  resulting  from  the  imperfect 
combustion  of  sulphur,  differs  from  the  sulphuric  acid, 
in  containing  less  oxygen  than  this  last,  and  is  indeed 
a middle  substance  between  sulphur  and  sulphuric 
acid.  This  gas  unites  very  easily  with  water,  and  in 
this  combination  it  may  be  employed  to  bleach  woollen 
and  silk. 

To  prepare  it  with  economy,  put  chOpt  straw  into  a 
matrass  closed  with  a stopper,  ora  cork,  through  which 
you  may  insert  a glass  tube,  of  which  one  end  goes 
into  water  at  the  bottom  of  a tubulated  receiver.  In  the 
tubulure  of  this  receiver  insert  a tube  through  a cork, 
and  let  the  end  of  the  tube  enter  the  water  about  the 

E 


I 


34. 

eighth  of  an  inch.  To  another  tubulure  in  this  receiver, 
adapt  a bent  tube  that  goes  into  a second  receiver  or 
bottle,  and  so  on  if  you  please  to  a third:  in  short  use 
the  apparatus  known  to  every  chemist  under  the  name 
of  Wolf’s  apparatus:  (greatly  improved  in  point  of 
safety  and  efficiency  by  Mr.  W.  Hembell  of  Philadel- 
phia. T.  C.)  Pour  strong  oil  of  vitriol  on  this  cut  straw: 
lute  all  the  junctures:  the  oil  of  vitriol  is  decomposed; 
a part  of  its  oxygen  is  abstracted  by  the  straw  and 
forms  water  with  the  hydrogen,  and  carbonic  acid  with 
the  carbon  of  the  straw,  while  the  sulphureous  acid 
comes  over,  and  unites  with  the  water. 

(The  apparatus  employed  for  bleaching  the  silk  and 
* cotton  with  the  sulphureous  acid  thus  obtained,  may 
be  any  vessel  wherein  the  goods  can  be  worked  by  a 
wince  or  soaked  in  the  liquor.  This  can  be  contrived 
although  the  box  be  covered  to  keep  in  the  gas  more 
perfectly,  by  means  of  apertures  in  the  cover.  Thus, 
the  silk  or  woollen,  rolled  on  rollers  at  one  end,  may  be 
made  to  pass  through  the  liquor  the  whole  length  of 
the  box,  by  means  of  a division  in  the  middle  not 
reaching  quite  to  the  bottom.  The  woollen  cloth  for 
instance  is  drawn  by  one  end  under  this  division,  and 
the  end  so  passing  under,  immersed  in  the  liquor,  is 
rolled  on  a wooden  roller  at  the  other  end,  and  so  back- 
ward and  forward:  or  the  whole  of  the  goods  may  be 
permitted  to  soak  in  this  sulphureous  acid  till  they  are 
sufficiently  bleached. 

Generally  for  a fine  white,  they  give  two  sulphur- 
ings;  then  wash  at  the  river,  and  finish  with  Spanish 
white. 


t 


35 


Blueing  is  done  by  means  of  one  part  of  Prussian 
blue  in  four  hundred  parts  of  water;  wincing  the  goods 
in  this  rapidly.  The  goods  are  then  entered  into  a 
warm  bath  of  soap  and  water  to  give  the  requisite 
softness. 

There  are  some  plants  that  may  be  used  for  this 
purpose,  as  the  saponaica,  the  garden  lichnis  and  some 
others.  But  I fancy  soap  is  the  best  material,  T.  C.) 

0 Of  Dyeing  Blue  on  JVoollens,  and  Cottons.  First  with 
pastel,  or  with  woad.  These  two  plants  are  nearly  the 
same;  the  garden  pastel,  is  the  pastel;  the  field  pastel 
is  the  woad.  They  differ  as  to  their  dyeing  properties, 
merely  in  the  first  affording  more  colour.  These  plants 
have  not  been  used  so  extensively  since  the  introduc-  • 
tion  of  indigo,  but  they  are  still  in  common  use  every 
where  in  Europe.  The  dyer  may  do  well  without 
them,  and  they  are  troublesome  to  manage,  owing  in 
a great  degree  to  the  variations  in  the  quality  of  the 
drug;  but  the  colour  they  do  afford,  is  good  and  solid; 
and  in  Europe  is  obtained  at  a cheaper  rate  than  the 
blue  from  indigo  alone.  They  do  not  afford  a full 
deep  blue. 

The  pastel  or  woad  vats,  are  set  in  the  ground,  and 
project  upward  above  the  floor,  no  higher  than  is  ne- 
cessary for  the  dyers  to  work  them  conveniently.  They 
are  nine  or  ten  feet  deep,  and  from  five  to  six  feet 
diameter;  made  of  staves  six  inches  broad  and  two 
inches  thick,  bound  with  iron  hoops  about  three  feet 
asunder.  The  bottom  instead  of  being  made  of  wood, 
may  be  made  with  cement,  such  as  lime,  pounded 
bricks  and  leached  ashes.  The  drugs  of  which  the  vat 


I 


/ 


30 


is  composed,  are  stirred  up  by  means  of  a long  rake, 
or  rather  a semicircular  piece  of  wood  with  a handle  to 
it,  used  to  plunge  in  the  liquor,  and  force  the  surface 
down  toward  the  bottom. 

The  cloth  is  worked  by  means  of  hooks  fastened  to 
the  end  of  a staff.  An  iron  hoop  covered  with  a net 
whose  meshes  are  about  an  inch  square,  is  let  down 
into  the  vat  to  prevent  the  cloth  from  mixing  with 
the  grounds  or  sediment  at  the  bottom.  % 

Sometimes  they  make  use  of  brandy  puncheons,  or 
well  cleansed  oil  puncheons,  as  vats  for  this  purpose; 
but  they  should  be  iron  hooped,  and  the  hoops  painted. 

The  boiler  or  cauldron  should  be  placed  near  to 
‘the  vat. 

The  process  for  setting  a woad  vat  is  as  follows. 

For  a vat  of  nine  feet  deep  by  five  feet  and  three 
quarters  over,  take  about  four  hundred  weight  of 
woad,  break  it  into  small  pieces,  and  throw  it  into  the 
vat.  Boil  in  the  contiguous  boiler,  thirty-three  pounds 
of  weld  with  a sufficient  quantity  of  water  for  the  vat; 
add  as  much  madder,  and  about  a bushel  or  a little 
more  of  bran;  continue  the  boiling  for  half  an  hour; 
add  a few  buckets  of  water;  let  the  liquor  settle,  and 
take  out  the  weld;^  turn  the  liquor  into  the  vat, 
stirring  the  vat  all  the  time;  stir  the  liqour  well  after- 
wards in  the  vat,  also,  for  a quarter  of  an  hour,  to  mix 
together  all  the  contents;  then  cover  up  the  vat  close 
for  six  hours;  open  it  at  the  end  of  that  time;  stir  up 
the  contents  for  half  an  hour;  do  so  every  three  hours 

* The  liquor  need  not  be  very  clear:  if  some  of  the  bran  and 
madder  should  go  into  the  vat  I see  no  harm  it  can  do.  T,  C. 


37 

I 

for  three  or  four  times.  When  blue  veins  begin  to  ap- 
pear in  the  licjuor,  add  between  eight  and  nine  pounds 
of  good  fresh  burnt  lime;  lime  that  has  remained  ex- 
posed to  the  air  for  some  time  is  good  for  little:  if  you 
can  get  no  other,  use  the  more  of  it;  but  spent  lime  is 
worse  than  useless.  The  vat  now  puts  on  a new  charac- 
ter; its  colour  is  much  deepened,  and  the  vapour  from 
it  is  more  penetrating. 

•When  indigo  is  used  with  the  woad  vat,  this  is  the 
point  of  time  when  it  is  to  be  put  in,  being  first  care- 
fully, patiently,  finely  ground  into  a very  smooth  paste; 
the  quantity  depends  on  the  shade  of  blue  you  require; 
you  may  use  from  five  to  five  and  twenty  pounds 
weight. 

So  soon  as  on  plunging  in  the  semicircular  rake, 
you  perceive  a fine  blue  froth  on  top  of  the  liquor,  let 
the  contents  be  well  stirred  up  twice  in  six  hours,  and 
one  or  two  pounds  more  of  lime  may  be  added:  take 
care  to  leave  the  surface  exposed  to  the  air,  no  longer 
than  is  necessary  to  stir  it:  indeed  it  -would  be  an  im- 
provement to  have  an  opening  in  the  cover  that  might 
just  admit  the  rake,  and  a lid  to  shut  down  upon  the 
opening.  During  all  this  time,  the  warmth  is  to  be  pre- 
served in  the  liquor  by  covering  it  close  as  much  as 
possible. 

The  vat  is  in  proper  order  for  dyeing,  when  the 
sediment,  and  the  body  of  the  liquor  are  of- a fine 
brownish  green  colour — when  the  froth  at  the  top  ex- 
posed to  the  air,  is  of  a fine  blue — when  a pattern  im- 
mersed for  a couple  of  hours  in  the  liquor,  comes  out 
a grass  green  colour,  and  gradually  turns  blue  on  ex- 
'posure  to  air. 


38 


Sometimes  a vat  will  not  furnish  a good  colour  be- 
cause it  is  too  cold:  sometimes,  because  it  has  been 
overcharged  with  lime:  sometimes  because  it  runs  into 
a state  of  putrefaction. 

In  the  first  case,  all  that  is  necessary,  is  to  heat  part 
of  the  liquor,  and  return  it  hot  into  the  vat,  stirring  up 
the  contents  for  twenty  minutes  with  the  rake,  and  then 
covering  it  up,  to  preserve  this  renewed  warmth. 

In  the  second  case,  reheat  in  the  boiler  part  of  the 
liquor;  then  add  about  a couple  of  pecks  of  bran,  and 
a few  pounds  (four  or  five)  of  madder;  stir  these  in  the 
liquor,  but  do  not  rake  up  the  sediment;  and  let  it  re- 
main covered.  If  the  fault  is  trifling,  the  addition  of 
the  bran  and  madder  will  answer  without  raking  it. 
Leave  it  to  rest,  for  a day  or  two,  or  even  more.  Some 
add  crude  tartar  to  a vat  so  circumstanced,  with  a 
view  to  neutralize  the  lime;  but  I believe  the  practice 
is  not  sanctioned  by  common  usage. 

If  the  contents  of  the  vat  putrefy,  which  may  be 
known  by  the  disappearing  of  the  blue  veins,  and  of 
the  blue  froth — by  the  rusty  colour  of  the  liquor — by 
the  sediment  spontaneously  beginning  to  rise — and 
by  the  fetid  smell  of  the  vat,  lime  must  be  added,  and 
the  grounds  raked  up:  in  two  hours  more,  a little  more 
lime  may  be  added,  and  the  sediment  stirred  again; 
and  so  on,  cautiously,  till  the  evil  be  remedied. 

Hence  the  skill  in  treating  the  woad-vat,  depends 
on  the  proper  addition  of  lime  to  prevent  the  too  hasty 
fermentation  of  the  vegetable  substances  employed  to 
disoxygenate  the  indigo,  which  would  destroy  the 
colouring  matter;  and  to  dissolve  a part  of  the  colour- 


39 


ing  matter  so  disoxygenated.  The  lime  is  gradually 
precipitated  in  the  form  of  pulverized  limestone  by 
the  addition  of  carbonic  acid  proceeding  from  the 
gradual  fermentation  of  the  madder,  the  bran,  and  the 
decoction  of  weld.  Hence  the  necessity  of  now  and  then 
adding  a small  quantity  of  fresh  lime,  to  renew  the 
necessary  solvent. 

When  goods  are  to  be  dyed,  the  vat  should  be  stir- 
red, and  left  to  settle  for  about  two  hours  before  the 
goods  are  entered.  The  dyer  then  lets  down  his  cross, 
his  net  or  his  trellis,  to  prevent  the  sediment  and  cloth 
coming  in  contact.  The  wool,  whether  unspun  or  in 
the  yarn  or  in  the  piece,  should  be  pressed  out  of  warm 
water  before  it  is  entered  into  the  vat. 

It  is  not  easy  to  dye  an  even  colour  in  a full  rich  vat: 
it  is  better  done  for  bright  colours,  by  making  use  of 
vats  that  have  been  in  part  worked,  and  are  beginning 
to  cool,  finishing  in  a fresh  vat. 

When  goods  have  been  dyed  blue,  they  should  be 
carefully  washed  to  get  rid  of  all  colour  that  adheres 
mechanically  only:  and  indeed  they  would  be  im- 
proved by  being  fulled  with  a small  quantity  of  white 
soap,  which  has  no  effect  upon  the  blue  colour,  but 
pleans  the  cloth  from  any  superfluous  sediment. 

I have  made  no  distinction  between  the  pastel  and 
the  woad  vat,  because  the  process  is  the  same  in 
both  vats. 

The  woad  vat  is  used,  to  give  a blue  ground  to 
black. 

In  setting  the  vat,  the  old  liquor  of  a spent  m.adder 
copper  may  be  used  to  save  madder,  v/hich  like  the 


40 


weld  is  of  no  use  as  a colouring,  but  only  as  a ferment- 
ing ingredient.  In  this  point  of  view,  the  weld  (espe- 
cially in  this  country)  might  be  saved,  by  increasing 
the  proportions  of  madder  and  bran:  I do  not  think 
quercitron  bark  would  be  a proper  substitute,  because 
it  is  more  astringent,  and  not  so  fermentable  as  weld, 
but  I think  weld  might  be  superseded  by  common  hay. 

Five  pounds  of  indigo  of  the  best  kind,  contain  near 
as  much  colouring  matter  as  two  hundred  pounds  of 
woad,  as  is  said. 

The  vat  should  never  have  lime  added  to  it  just 
before  it  is  reheated.  In  Holland,  to  save  the  trouble 
of  reheating  the  vat  repeatedly,  they  have  metal  vats, 
six  feet  deep,  four  feet  and  a half  at  the  bottom,  and 
five  feet  and  a half  at  the  top;  the  bottom  part  for  two 
and  a half  feet  upward,  is  made  of  lead,  the  upper  part 
for  three  and  a half  feet  is  made  of  copper:  the  vat  is 
surrounded  with  a brick  wall  six  inches  thick,  and  the 
intermediate  space  is  filled  with  warm  embers  or  wood 
ashes,  high  enough  to  keep  up  a continued  moderate 
heat.  When  cold,  the  embers  can  be  removed,  by 
taking  out  a brick  or  two  at  the  bottom.  In  my  opinion 
it  can  be  cheaply  warmed  by  means  of  a supply  of 
steam  even  from  a common  kettle  that  would  hold  a 
couple  or  three  gallons.  If  the  vat  be  of  wood  the  steam- 
could  be  thrown  in;  if  of  metal,  it  could  fill  an  inter- 
stice on  the  outside. 

All  the  lime  used,  should  be  previously  slacked. 

There  is  no  advantage  in  letting  the  bran  liquor 
grow  sour,  either  in  the  vat  or  out  of  it. 

These  instructions  are  all  that  are  principally  ne- 


41 


cessary  when  it  is  intended  to  dye  blue  with  woad, 
either  with  or  without  indigo. 

The  Woad  or  Pastel  Vat  according  to  Homassel.  — To 
set  this  vat,  it  is  useful  to  employ  either  putrid  water, 
or  an  old  vat  of  madder,  to  accelerate  the  fermentation 
of  the  woad;  btit  if  you  have  not  these,  proceed  thus: 

The  day  before  you  set  your  vat,  grind  twelve  or 
fifteen  pounds  of  woad,  and  having  put  it  in  a basket, 
potir  hot  water  upon  it  to  iSaMsten  it.  Let  it  thus  re- 
main till  it  comes  down  to  the  warmth  of  leaven.  Then 
take  four  ounces  of  yeast,  and  mix  it  with  warm  water, 
add  it  to  the  pastel  or  woad  and  stir  it  in;  cover  it  so 
that  it  may  retain  its  heat.  In  a short  time  the  fermenta- 
tion begins,  and  the  woad  becomes  of  a fine  green 
colour;  this  serves  as  a ferment  or  leaven  for  the  vat. 
After  this,  common  water  will  answer  the  purpose, 
which  when  boiled  for  a short  time  is  emptied  into  the 
vat,  but  the  woad  must  not  be  put  in  while  boiling, 
otherwise  it  will  set,  and  be  injured.  Break  the  lumps 
of  three  or  four  balls  of  pastel  (they  are  about  one  hun- 
dred and  fifty  pounds  each)  and  put  them  in  the  vat; 
and  when  the  heat  is  sufficiently  moderated  not  to  burn 
the  leaven  or  ferment  prepared  the  day  before,  and 
which  by  this  time  ought  to  be  of  a fine  green  colour, 
and  in  a state  of  lively  fermentation,  put  this  in  also; 
stir  the  vat  and  cover  it;  but  you  must  put  your  ear 
close  to  it  from  time  to  time,  to  observe  the  gentle 
noise  of  the  fermentation  within,  which  should  not  be 
permitted  to  go  on  too  hastily;  this  may  be  prevented 
by  throwing  in  a small  wine  glass  full  of  slacked  lime 
each  time  you  stir  the  vat,  for  this  absorbs  part  of  the 

F 


42 


carbonic  acid  gas  which  is  extricated;  this  should  be 
done  occasionally  till  the  moment  when  the  blue  tinge 
appears;  at  which  time,  and  while  the  fermentation  is 
yet  lively,  add  to  the  vat  ten  pounds  of  well  ground 
and  sifted  indigo,  and  stir  the  vat  well,  then  let  it  rest 
covered,  during  four  hours.  After  this,  try  the  vat  with 
small  specimens  of  woollen,  till  you  see  them  come 
out  a full  green  and  turn  blue  in  the  air.  While  you 
are  trying  these  sample-pieces,  take  care  that  the  fer- 
mentation does  not  proceed  too  wildly,  before  all  the 
indigo  is  dissolved;  if  this  should  threaten,  stop  it  now 
and  then  with  a small  handful  of  lime.  The  fermenta- 
tion ought  to  be  nearly  confined  to  the  bottom;  if  the 
liquor  be  ill  coloured,  and  the  woiking  of  the  vat 
throws  gross  particles  up  to  the  top,  it  is  a sign  it 
works  too  strongly,  and  is  to  be  corrected  fbut  cau- 
tiously) with  small  quantities  of  lime;  for  if  so  much 
be  thrown  in  as  to  stop  the  fermentation,  you  will  get 
no  colour.  Should  this  happen,  you  must  refresh  it  with 
some  woad,  set  to  ferment  with  yeast — or  with  tartar 
and  bran — or  with  madder — but  the  shortest  way  is  to 
throw  in  about  thirty  pounds  of  woad  well  prepared 
and  green,  and  to  reheat  part  of  the  liquor,  and  guard 
against  such  an  accident  in  future.  For  this  reason,  in 
all  blue  dye-houses,  there  is  a guederon,  or  woad-man, 
whose  only  business  it  is,  to  take  care  of  the  vats,  to 
stir  them  every  six  hours,  and  as  it  is  wanted,  to  put 
in  the  requisite  quantity  of  lime.  Few  of  these  men 
know  the  reason  why  lime  is  put  into  the  vat;  they  say 
it  makes  the  vat  work  kindly;  for  when  the  fermenta- 
tion is  too  hasty,  the  vat  becomes  greasy,  and  the  goods 


43 


are  spotted;  too  much  lime  on  the  contrary,  stops  all 
fermentation  and  kills  the  vat.  When  the  specimens  or 
sample-pieces  which  have  been  an  hour  in  the  liquor, 
exhibit  the  colour  required,  boil  some  river  water  and 
fill  up  the  vat.  This  will  not  weaken  the  liquor;  on  the 
contrary  the  admixture  of  boiling  water,  will  enliven 
the  fermentation,  and  increase  the  depth  of  colour. 
When  full,  stir  it,  and  let  it  rest  covered  for  four 
hours,  when  it  will  be  fit  to  work;  but  before  you  stir 
it  this  time,  add  a little  lime,  lest  the  warmih  during 
four  hours,  and  the  agitation  of  the  liquor  during  the 
working  of  the  vat,  should  excite  the  fermentation  too 
strongly. 

The  eye  and  the  ear,  must  not  alone  be  trusted  to 
by  the  workmen,  for  the  purpose  of  ascertaining 
whether  the  vat  is  in  order;  the  sense  of  smelling  too 
will  greatly  assist;  for  the  odour  is  much  the  same  as 
in  the  pencil  blue,  and  may  be  recognized  by  dis- 
solving an  ounce  of  indigo  by  means  of  liver  of  sul- 
phur, but  the  pastel  vat  ought  not  to  smell  quite  so 
strong,  although  similar;  but  it  should  be  like  a mix- 
ture of  volatile  alkali  and  pencil  blue.  The  woad-man 
will  be  guided  by  this  odour,  as  to  when  the  vat  is  fit 
for  work;  and  by  it  he  will  be  guided  also  in  putting 
in  his  lime.  If  the  vat  should  blacken,  lessen  the  quan-  / 
tity  of  lime.  If  on  stirring  it,  you  see  fine  blue  veins 
shoot  through  the  yellow  liquor,  you  may  work  it 
boldly.  With  some  practice  the  directions  here  given 
are  enough  to  make  a good  workman. 

When  you  dye,  let  down  your  net  to  the  middle  of 
the  vat;  work  your  cloth  by  means  of  hooks,  with  the 


44 


greatest  attention  to  prevent  its  taking  air  while  you 
are  dyeing  it.  When  dyed,  hang  it  on  hooks  that  can 
be  fixed  as  they  are  wanted,  and  one  end  being  con- 
nected with  a wince,  by'-  turning  this,  the  cloth  may  be 
wrung  to  free  it  from  superfluous  liquor,  and  then 
opened  to  be  blued  by  the  air.  If  the  colour  be  not 
deep  enough,  give  it  another  dipping.  The  vat  stirred 
twice  a- day,  may  be  worked  for  three  days.  The  cooler 
the  liquor,  the  lighter  the  blue.  No  dy’e-house  for  blue 
colours,  should  have  less  than  three  vats  in  different 
states,  that  a piece  begun  to  be  dyed  in  one,  may  be 
finished  in  another. 

But  if  there  be  only  one  woad  vat  it  may  be  occa- 
sionally reheated,  by  boiling  a part  of  the  clear  liquor 
in  a boiler,  and  returning  it  into  the  vat;  then  stir  the 
vat  and  let  it  rest  for  six  hours;  then  add  some  lime 
and  stir  it  again;  it  must  be  stirred  every  six  hours, 
but  not  used  for  dyeing  till  twenty-four  hours  after  it 
has  been  heated  afresh. 

The  blue  of  the  pastel  or  woad  vat,  is  very  solid,  but 
not  so  bright  as  the  blue  of  the  indigo  vat. 

Of  dyeing  Blue  on  Woollen  with  Indigo  alone.  Indigo 
is  made  soluble  in  lime  or  alkali,  by  disoxygenation 
alone.  Three  kinds  of  substances  are  employed  by 
dyers  to  disoxygenate  indigo;  first,  fermentable  sub- 
stances, such  as  bran  and  madder.  Secondly,  fresh 
green  vitriol,  or  sulphat  of  iron.  Thirdly,  orpiment,  red 
or  yellow;  that  is,  sulphuret  of  arsenic.  Other  sub- 
stances will  produce  the  same  effect,  such  as  sugar, 
liver  of  sulphur,  &c.,  but  experience  has  given  its  sanc- 
tion to  these. 


45 


Of  the  Bran  and  Madder  Vat.  This  is  the  vat  com-  . 
monly  usrd  by  the  blue  dyers  of  Pennsylvania,  and 
does  not  differ  in  its  mode  of  operation  from  the  woad 
vat.  It  is  also  the  common  vat  for  the'  wool-dye,  em- 
ployed in  Europe.  The  vats  are  conical,  from  two  to 
four  feet  in  diameter  at  the  top,  from  five  to  six  feet 
deep,  and  from  one  foot  lo  eighteen  inches  at  the  bot- 
tom. A vat  four  feet  at  top,  two  feet  at  bottom,  and  six 
feel  deep,  will  hold  about  three  hundred  and  fifteen 
wine  gallons:  a vat  two  feet  diameter  at  the  top,  one 
foot  ai  the  bottom  and  five  feet  deep,  will  hold  a little 
above  sixty-six  wine  gallons.  The  proportions  of  the 
materials  are  the  same  whatever  be  the  size  of  the  vat. 

In  general  the  bottom  of  the  vat  should  not  exceed 
eighteen  inches.  The  lower  part  of  the  vat  may  be 
copper,  the  upper  part  wood.  A vat  may  be  propor- 
tioned in  size,  about  fifty  gallons  to  a pound  of  indigo. 

In  America,  the  back  country  dyers  use  a vat  of  this 
description,  in  which  they  can  conveniently  work 
about  two  pounds  of  indigo  at  a time.  A small  fire- 
place  at  the  lower  part  of  the  copper  but  above  the 
sediment,  in  which  fire  is  put,  enables  the  dyer  to 
keep  up  a moderate  heat  in  the  vat;  the  flame  strikes 
against  the  lower  part  of  the  copper,  and  circulating 
round  it,  passes  up  a flue  into  the  chimney.  A moderate 
fire  is  sufficient  lor  the  purpose  of  keeping  the  vat  at 
the  necessary  heat. 

Two  pounds  of  indigo  are  very  carefully  and 
patiently  ground  into  an  impalpable  paste,  which  ought 
to  be  washed  through  a fine  sieve;  very  small  particles 
unground,  will  stain  the  goods  unevenly.  Fine  and 


46 


patient  grinding  are  essential;  I have  said  this  more 
than  once  before,  and  I shall  repeat  it  as  opportunity 
offers,  that  it  may  be  taken  for  granted  as  a condition 
absolutely  necessary.  In  mean  time  from  five  to  six 
quarts  of  sifted  bran,  and  one  pound  of  madder,  are 
to  be  put  into  the  vat  half  filled  \yiih  boiling  water.  It 
would  be  better  to  boil  them  separately  for  two  or 
three  hours.  Then,  two  pounds  of  potash,  previously 
broken  and  dissolved  in  hot  water,  are  added:  it  is  bet- 
ter to  dissolve  the  potash  separately,  for  it  takes  some 
time  to  dissolve;  and  lumps  of  it  may  remain  too  long 
undissolved  in  the  vat.  Lime  is  not  used  in  this  vat, 
but  the  strength  of  the  potash  itself  would  be  greatly 
increased  by  the  addition  of  a pound  of  lime  to  the 
liquor  in  which  the  potash  is  previously  dissolved;  as 
the  practice  is  with  the  soap  boilers,  and  with  the 
callicoe  printers,  who  always  make  use  of  pure  or 
caustic  potash  made  so  with  lime,  as  the  solvent  of 
their  indigo  for  pencil  blue. 

Now  stir  up  the  liquor  containing  the  madder,  bran 
and  potash.  When  this  is  done,  introduce  the  indigo 
into  the  vat  either  through  a sieve,  or  by  washing  off 
from  the  indigo  paste,  gradually,  all  the  finer  parts  of 
the  indigo,  giving  a little  time  for  the  sediment  to  set- 
tle; this  sediment  must  be  ground  again  and  again, 
till  it  remains  suspended  in  the  water  in  a fine  powder: 
in  this  state  it  must  be  introduced  into  the  vat.  During 
all  this  time,  the  vat  must  be  kept  closely  covered, 
unless  so  long  as  is  absolutely  necessary  to  introduce 
the  ingredients.  When  the  indigo  is  put  in,  fill  up  the 
vat  with  hot  water,  so  as  to  make  the  whole  body  of 


47 


the  liquor,  below  a scald.  The  vat  should  be  filled 
within  tour  inches  of  the  top.  Cover  it  carefully  from 
the  air,  and  let  it  rest  for  about  ten  hours.  Hence  it  is 
convenient  to  have  your  vat  set  about  ten  o’clock  at 
night,  and  open  it  the  first  thing  the  next  morning. 
The  heat  should  be  confined  within  135°  of  Fahren- 
heit’s thermometer,  which  it  ought  not  to  exceed.  It 
is  of  consequence  to  work  by  a thermometer. 

In  the  morning,  open  the  vat  and  plunge  your  rake 
several  times  with  force  from  the  top  to  the  bottom  of 
the  vat.  Cover  the  vat  closely  again,  and  feed  the  fire 
so  as  to  keep  up  a warmth  in  the  liquor,  such  as  you 
can  just  bear  your  hand  in  for  a short  time  and  no 
more,  or  rather  about  135°  of  Fahrenheit.  In  two 
hours,  again  uncover  the  vat,  and  plunge  in  the  rake 
half  a dozen  times.  If  bubbles  appear — if  a thick  blue 
froth  rises  to  the  top  and  puts  on  presently  a dark 
green  colour,  and  the  coppery  hue,  the  vat  is  ready 
for  dipping  the  goods.  Try  the  state  of  the  vat  every 
two  hours  until  it  puts  on  these  appearances,  but  take 
care  to  keep  it  covered  in  the  intermediate  time. 
Should  the  froth  appear  of  a pale  blue  instead  of  a 
coppery  green  colour,  sprinkle  into  it  a quarter  of  a 
pound  of  madder.  Should  the  liquor  be  of  a pale  colour 
with  a whitish  scum,  it  must  be  reheated  by  boiling 
a part  of  it,  and  a small  quantity  of  all  the  ingredients 
with  about  half  a pound  of  fresh  slacked  lime  should 
be  put  in. 

Frequent  opening  of  the  vat,  has  two  mischievous 
effects:  first,  it  tends  to  cool  the  liquor  at  the  surface; 
and  secondly,  it  brings  back  the  dissolved  and  green 


48 


indigo  into  an  undissolved  and  blue  state,  by  allow- 
ing it  to  reabsorb  oxygen  from  the  atmosphere.  A 
good  workman  will  give  a full  blue  to  one  hundred 
pounds  weight  of  woollen,  by  means  of  about  six 
pounds  of  the  finest  indigo,  such  as  that  of  Guatimala. 

I have  said,  that  the  vat  should  be  covered:  but  to 
keep  in  the  warmth  and  exclude  the  air,  it  is  of  great 
use  to  cover  the  wooden  top  with  blankets. 

A vat  of  this  description  being  in  order,  and  your 
cloth  intended  to  be  dyed,  w^ell  scoured  from  the 
grease  (otherwise  it  is  in  vain  to  expect  an  even  dye, 
or  that  the  cloth  should  be  soft  to  the  feel)  let  it  be 
dipped  in  hot  water  and  evenly  pressed,  so  as  to  be 
evenly  moist  throughout. 

The  vat  being  full  to  within  three  or  four  inches  of 
the  top,  and  the  body  of  the  liquor  of  a full  warmth, 
there  will  be  (if  in  order  for  dyeing)  two  or  three  gal- 
lons of  copper-blue  froth  or  head,  on  the  top  of  it;  and 
the  body  of  the  liquor  will  be  green.  Take  off  the 
froth,  and  put  it  by  in  some  vessel  that  will  hold  it. 
Then  let  down  the  net  gently  to  the  top  of  the  sedi- 
ment, taking  care  not  to  disturb  it;  and  then  fix  your 
stick  or  cross  about  an  inch  and  a half  below  the  sur- 
face of  the  dye  liquor,  for  the  purpose  of  hauling  the 
cloth  over  it.  Haul  the  cloth  (previously  moistened  in 
hot  water  and  evenly  pressed)  into  the  vat,  beginning- 
at  one  end,  keeping  it  open,  till  the  whole  is  hauled 
into  the  vat;  persevere  in  hauling  it  backward  and 
forward  for  at  least  tw'enty  minutes,  keeping  it  all  this 
time  in  the  dye,  and  covered  with  it.  After  this  pro- 
cess,  begin  at  one  end  of  the  cloth,  wring  it  up,  and 


49 


take  it  on  the  folding  board,  and  fold  it  over  till  it 
becomes  of  an  even  blue  colour,  the  air  giving  to  it 
the  blue  tinge,  instead  of  the  green.  When  the  whole 
cloth  has  thus  acquired  an  even  blue  colour  by  expo- 
sure to  air,  and  not  till  then,  dip  it  again,  hauling  it 
over  Ihe  cross  and  under  the  liquor.  Take  it  in  folds 
on  the  folding  board  as  before;  carry  it  away;  take  out 
the  net  and  cross;  return  the  froth  into  the  vat;  plunge 
in  the  rake  half  a dozen  times;  cover  the  vat  close; 
keep  up  by  means  of  a moderate  fire,  a warmth  some- 
what below  a scald,  such  as  you  can  conveniently  bear 
your  hand  in;  or  135®  of  Fahrenheit’s  scale:  let  all  re- 
main for  an  hour  or  two;  then  open  the  vat;  put  in 
the  net  carefully,  and  the  cross;  enter  the  cloth  again, 
and  proceed  as  before,  until  the  colour  required  be 
nearly  obtained. 

The  cloth  should  now  be  milled  a second  time.  If 
before  it  be  again  entered  for  the  last  time,  four  or 
five  pounds  of  well  powdered  woad,  be  mixed  with 
the  ingredients  in  the  vat,  the  colour  will  be  improved. 
The  woad  should  be  put  in  at  once,  after  the  cloth 
is  taken  out;  but  though  convenient  as  an  ingredient, 
woad  is  not  necessary. 

In  hot  weather,  the  vat  need  not  be  heated  more 
than  once  in  three  or  four  weeks:  maggots  will  now 
and  then  appear  on  the  surface,  which  must  be  taken 
oft’.  When  the  dye  becomes  glutinous  by  use,  it  must 
be  boiled  (that  is  the  clear  part  of  it,  freed  from  the 
sediment,)  and  scummed;  return  the  liquor  upon  the 
sediment,  adding  a small  quantity  of  lime,  which  set- 
tles the  grounds.  Manganese  is  sometimes  put  into  a 

G 


50 


vat  to  make  it  give  out  all  its  colour,  but  I think  it 
useless.  Two  or  three  small  bundles  of  hay,  or  some 
stale  urine,  are  often  of  great  use  to  make  a vat  come 
to,  when  it  does  not  work  well.  Indeed  I am  strongly  of 
opinion  that  common  hay  may  be  made  to  supply  the 
place  of  madder.  The  sediment  should  be  perfectly 
settled  before  the  net  is  let  down. 

After  full  colours  are  dyed,  the  vat  will  serve  very 
well  for  light  colours;  indeed  these  last  cannot  be  dyed 
so  well  in  a fresh  vat,  as  in  one  that  has  been  already 
used. 

The  method  of  setting  an  Indigo  vat^  hy  M.  Homas- 
sel. — For  a boiler  of  from  thirty-six  to  fifty  buckets 
of  water,  employ  four  pounds  of  indigo  of  a fine  cop- 
per colour,  two  pounds  of  madder,  eight  pounds  of 
pearl  ash  {cendres  gravelcesj  calcined  wine  lees)  or  of 
potash,  and  half  a French  bushel  of  good  bran. 

Fill  the  boiler  three-fourths  full  of  river  water;  put 
in  four  pounds  of  the  alkali,  a pound  and  a half  of 
madder,  and  a quarter  of  a bushel  of  bran.  (Note;  that 
the  English  bushel  contains  2150  cubic  inches,  but 
the  French  boisseau  contains  but  640  French  and 
681  English  cubic  inches  according  to  Rome  de 
L’Isle,  so  that  the  quantity  prescribed  for  four  pounds 
of  indigo,  is  little  more  than  one-sixth  of  an  English 
bushel. ) Boil  these  together  for  at  least  four  hours; 
this  is  absolutely  necessar)%  When  the  liquor  has  boil- 
ed during  that  time,  let  it  rest  for  twenty  minutes,  and 
and  strain  it  clear  from  the  sediment. 

While  the  bath  or  liquor  is  boiling,  prepare  the 
indigo,  w'hich  it  is  absolutely  essential  should  be 
bruised  into  a paste  fine  enough  to  pass  through  a 


51 


I fine  sieve,  which  it  must  be  made  to  do.  The  sedi- 
ment that  will  not  pass  through,  must  be  ground  over 
again.  Put  in  the  indigo,  and  take  care  that  the  boiler 
be  not  more  than  two-thirds  full;  nor  should  the  heat 
be  now  permitted  to  exceed  45  degrees  of  Reaumur’s 
thermometer  or  133  of  Fahrenheit,  to  which  degree  it 
should  be  kept  up;  a few  degrees  below  this,  will  pre- 
vent its  working  well,  and  a few  degrees  above,  will 
scald  it  too  much. 

In  twelve  or  fifteen  hours,  the  liquor  will  be  green, 
when  you  must  put  in  one  pound  of  alkali;  stir  it  well, 
and  let  it  rest  twelve  hours,  always  keeping  up  the 
same  degree  of  heat.  You  may  then  put  in  the  rest  of 
the  alkali,  bran  and  madder,  and  let  the  liquor  boil  for 
five  minutes,  but  no  more,  otherwise  it  will  become 
greasy  (gras):  to  conquer  this  if  it  should  happen,  will 
require  a four  hours  boiling,  otherwise  unnecessary. 
Let  the  liquor  now  rest,  until  it  be  cool  enough  to  empty 
into  the  vat:  empty  it  therein,  and  stir  it  well;  let  it  rest 
four  hours,  when  it  will  have  a fine  green  colour  and 
a pleasant  smell. 

When  the  wool  is  dyed,  tlie  liquor  must  be  cooled 
to  the  degree  in  which  the  hand  can  be  immersed 
without  inconvenience;  that  is,  rather  under  than 
above  138  degrees  of  Fahrenheit.  Should  the  vat 
after  working  become  black,  the  indigo  collects  and 
is  not  diffused;  if  it  become  (gras)  greasy,  it  leaves 
white  spots  on  the  cloth.  In  the  latter  case,  put  half  a 
boisseau  (about  a gallon  and  a half)  of  bran  in  two  or 
three  bags,  and  throw  them  into  the  vat;  when  they 
liave  absorbed  all  the  grease  they  will  rise  to  the  top 


52 


of  the  vat,  when  they  may  be  taken  out  and  a refresh- 
ing of  madder  and  alkali  added,  according  to  the 
quantity  of  indigo  calculated  to  remain  in  the  vat. 
Stir  the  liquor  in  the  vat;  let  it  rest  four  hours  at  the 
heat  of  133®  Fahrenheit.  Stir  it  well  again,  and  let  it 
again  rest  four  hours.  If  the  vat  be  black,  add  a little 
alkali,  and  bring  up  the  heat  to  133°  Fahrenheit,  for 
twelve  or  fifteen  hours,  till  it  begins  to  come  to,  and 
then  add  a little  madder  and  bran. 

Woollen  yarn  to  be  dyed  must  be  strung  separately, 
pound  by  pound,  and  wetted  evenly  at  two  or  three 
dippings;  the  water  should  not  be  boiling  if  the  wool 
be  greasy;  otherwise  it  will  detach  the  grease,  which 
will  unite  with  the  alkali  in  the  vat,  and  make  the  vat 
black.  The  wool  should  not  be  dyed  in  parcels  of 
more  than  ten  pounds  at  a time  in  a vat  of  this  size. 
A circular  net,  weighted  to  make  it  descend  to  within 
one-third  of  the  bottom,  will  prevent  the  wool  from 
disturbing  the  sediment.  When  the  wool  is  to  be  dyed, 
pass  a rod  or  stick  through  the  strings  of  ten  pounds 
of  the  wool,  and  plunge  it  into  the  vat,  so  as  no  part 
be  exposed  to  the  air;  it  must  be  worked  by  separate 
parcels  in  the  vat  (but  never  exposed  to  the  air)  dur- 
ing twenty  minutes,  when  it  may  be  taken  out,  wrung 
over  the  vat,  and  opened  to  be  aired:  then  take  a se- 
conA^parcel  of  ten  pounds,  and  proceed  as  with  the 
last:  then  recommence  with  the  first  parcel  of  ten 
pounds,  and  keep  it  in  the  liquor  till  the  required 
colour  is  obtained. 

Alter  having  coloured  twenty  pounds  of  wool,  the 
vat  may  be  slightly  refreshed  and  stirred,  and  left  to 


settle  for  four  hours;  but  this  refreshment  need  not 
be  put  in,  unless  you  observe  the  vat  rather  spent, 
and  the  green  colour  turning  blackish:  too  much  re- 
freshing with  madder  and  bran,  will  make  the  vat  turn 
(gras)  greasy. 

A vat  thus  set,  will  dye  thirty  pounds  of  wool,  a 
royal  or  king’s  blue,  for  each  pound  of  indigo;  and 
also  thirty  other  pounds  a lighter  blue,  and  even  give 
a light  blue  ground  to  other  parcels  intended  for 
greens  and  browns.  This  vat  ought  to  be  worked  out, 
till  it  is  spent  and  clear,  that  there  may  be  no  need  of 
the  trouble  and  expense  of  reheating;  and  the  quantity 
of  indigo  should  be  previously  calculated  to  answer 
the  quantity  of  blues  and  greens  you  contemplate  to 
dye  in  it. 

It  is  essential  to  remember,  that  when  wool  pre- 
viously dyed  yellow  with  weld,  is  entered  into  such  a 
vat,  it  must  be  well  washed  and  beaten,  to  extract 
perfectly  all  the  alum  mordant  that  may  remain  in  the 
cloth  or  wool.  This  vat  is  superior  in  colour,  when 
the  indigo  is  good,  to  the  pastel  or  woad  vat:  but 
when  cloth  is  to  be  dyed  in  it,  instead  of  wool,  the 
dyers  proceed  thus: 

For  a vat  of  a hundred  buckets  of  water,  they  em- 
ploy but  four  pounds  of  indigo,  which  is  treated  as 
above.  In  another  small  boiler,  holding  ten  or  a dozen 
buckets  of  water,  they  set  another  vat,  wherein  they 
employ  from  ten  to  twelve  pounds  of  indigo  in  perfect 
solution,  that  is,  using  the  proportions  of  madder  and 
bran  necessary  with  the  alkali  to  dissolve  the  indigo. 
By  taking  a bucket  full  or  two  out  of  this  small  vat. 


54 


and  pouring  it  into  the  large  one,  the  latter  is  conve- 
niently refreshed,  and  kept  up  of  any  desired  strength. 
Before  the  cloth  is  dyed,  it  is  exposed  on  the  grass  to 
bleach,  and  then  fulled,  and  the  large  vat  is  kept  rather 
weak  than  strong.  The  bleaching  and  milling  contri- 
butes much  to  brilliancy  of  colour. 

The  silk  dyers  use  a vat  shaped  like  a sugar-loaf. 
The  small  end  of  the  cone  is  kept  sunk  a foot  under 
ground,  and  the  fire  which  strikes  against  the  vat, 
always  strikes  above  the  sediment,  which  by  this 
means  is  never  burnt.  For  these  vats,  they  use  in 
mounting  the  vat,  no  more  than  half  a pound  of  pearl 
or  potash  to  the  pound  of  indigo,  which  they  boil  for 
about  five  minutes;  then  they  put  in  another  half 
pound  of  indigo,  four  ounces  of  madder,  and  a quar- 
ter of  a boisseau  (170  cubic  inches,  of  which  231  make 
the  wine  gallon)  of  bran.  They  have  difficulty  with 
this  vat,  which  often  blackens,  but  they  are  of  opinion 
that  the  alkali  injures  the  silk.  But  as  they  enter  but 
one  small  bundle  or  hank  at -a  time,  the  loss  is  trifling 
if  the  colour  should  not  be  good.  The  silk  dyers  vat, 
seldom  holds  more  than  twelve  or  fifteen  buckets,  and 
some  of  them  use  so  much  as  ten  pounds  of  indigo  to 
a vat.  Yet  if  the  silk  intended  for  blue,  green  or  vio- 
let, be  not  dry  in  ten  minutes,  the  colour  disappears, 
notwithstanding  such  a superabundance  of  indigo,  or 
else  it  becomes  spotted. 

(I  insert  the  above  directions  of  M.  Homassel,  be- 
cause the  directions  as  to  the  degrees  of  heat  are 
worth  attending  to,  and  his  book  is  manifestly  the  re- 
sult of  practice.  But  I cannot  think  that  a pound  of 


55 


indigo  requires  two  pounds  of  the  best  potash  to  dis- 
solve it.  The  cendres  gravelees  of  the  French  are  a 
kind  of  pearl  ash,  not  so  strong  as  potash.  I am  well 
persuaded,  that  a pound  and  a quarter  of  good  potash 
dissolved  with  an  equal  quantity  of  lime  to  abstract 
the  carbonic  acid,  is  fully  sufficient  for  a pound  of  in- 
digo; nor  can  I conceive  any  reason  why  any  carbonic 
acid  should  be  permitted  to  remain  in  the  alkali,  which 
is  rendered  weak  and  inefficient  in  exact  proportion 
to  its  presence.  Indeed,  potash  supplied  with  as  much 
carbonic  acid  as  it  can  take  up,  crystallizes,  and  re- 
mains crystallized  even  when  exposed  to  the  open  air; 
it  is  nearly  tasteless,  and  unfit  for  the  purpose  of  an 
alkali,  being  in  fact  a neutral  salt.  If  the  potash  be  as 
it  ought  to  be,  previously  dissolved  in  water,  before 
it  be  put  into  the  vat,  it  is  not  of  much  consequence 
if  there  should  be  an  over  proportion  of  lime.  Good 
potash  may  not  require  of  lime  more  than  half  its 
weight,  pearl  ash  usually  contains  more  carbonic  acid 
and  requires  an  equal  weight. — T.  C.) 

The  old  liquor  of  a spent  vat  may  be  used  to  set  a 
new  one. 

This  vat  will  dye  woollen,  cotton,  linen,  or  silk: 
but  a full  deep  blue  cannot  well  be  given  to  silk  by 
indigo  alone;  it  will  require  a ground  of  archil  first, 
for  silk.  Nor  does  so  much  alkali  as  this  vat  usually 
takes,  agree  with  silk. 

The  vat  wherein  the  indigo  is  disoxygenated  by 
means  of  fresh  made  green  vitriol,  or  sulphat  of  iron, 
is  chiefly  used  for  the  cotton  dye,  but  as  it  may  be 
used  for  wool  too,  I will  describe  it  here,  so  that 


S6 


whatever  relates  to  the  indigo  dye,  may  be  collected 
and  consulted  together. 

Every  dyer  has  notions  of  his  own,  about  the  size 
of  his  vats,  and  the  proportions  of  his  ingredients;  it 
is  no  wonder  therefore  if  the  processes  I give,  should 
not  be  exactly  the  same  in  all  respects  as  those  fol- 
lowed by  twenty  other  good  dyers,  who  in  non-essen- 
tial particulars  may  each  differ  from  the  other.  I will 
copy  from  my  notes,  two  processes  used  by  the  cot- 
ton dyers  of  Manchester,  varying  but  slightly  from 
each  other;  and  then  give  the  methods  used  in  France. 
All  of  them  may  be  relied  on  as  the  descriptions  of 
actual  practice,  notwithstanding  their  varying  so  much 
from  each  other  in  the  proportion  of  ingredients,  and 
the  times  of  immersion. 

Indigo  vat,  with  lime,  for  Cotton  dyeing. — This  may 
be  constructed  of  stone  or  wood;  the  best  material  is 
pine  wood  lined  with  sheet  lead.  To  enable  you  to 
dye  two  pieces  of  callicoe,  of  twenty-eight  and  a half 
yards  long,  at  a time,  the  dimensions  of  the  vat  should 
be  four  feet,  by  six  feet,  and  seven  feet  deep.  The  vat 
should  be  on  a level  with  the  floor,  or  within  a few 
inches  of  it,  so  that  two  boys  may  be  able  to  lift  the 
frame  on  which  the  callicoes  are  stretched,  by  taking 
hold  one  at  each  end.  There  should  be  a sei'ies  of 
these  vats  (six  or  eight)  where  much  of  this  work  is 
to  be  done,  that  there  may  be  sufficient  intervals  of 
time  for  the  vats  to  be  refreshed. 

As  blue  dyeing  on  callicoe  does  not  admit  of 
w^incing,  the  pieces,  two  at  a time,  must  be  stretched 
tightly  on  hooks  on  a frame,  so  that  there  may  be  a 


57 


space  of  at  least  two  inches  between  the  folds,  to  pre- 
vent the  opposite  sides  of  the  cloth  from  sticking 
together,  which  would  hinder  the  dye  from  striking 
evenly.  I think,  notwithstanding  iron  stain  is  of  less 
consequence  in  blue  than  in  lighter  colours,  the  hooks 
should  be  copper,  and  set  two  inches  apart.  The 
frames  may  be  of  pine,  proportioned  to  the  size  of 
the  vats,  and  regulated  in  height  by  the  width  of  the 
goods.  The  upper  rails,  which  must  also  be  furnished 
with  copper  hooks,  may  be  made  to  slide  in  a groove 
cut  in  the  upright  or  corner  posts,  so  as  to  admit  of 
being  adjusted  to  the  width  of  the  cloth.  'Fhe  piece 
is  hooked  in  folds  from  side  to  side,  and  stretched 
tightly,  so  that  the  folds  cannot  touch  each  other.  The 
number  of  dips,  each  of  five  minutes  duration,  depend 
upon  the  required  colour. 

The  vats  may  be  set  either  with  orpiment  or  with 
copperas  to  de-oxyd  or  disoxygenate  the  indigo,  but 
copperas  (green  copperas,  sulphat  of  iron)  is  com- 
monly used  for  the  blue  vat;  the  use  of  orpiment 
being  almost  confined  to  the  pencil-blue  of  the  callicoe 
printers.  The  Guatimala  flotant  indigo  is  usually  pre- 
ferred; next  to  that,  the  East  India  indigo.  The  indigo 
of  South  Carolina,  is  so  inferior  as  to  be  out  of  use. 
The  proportions  of  ingredients  in  contmon  use  for 
these  vats  are,  from  two  to  five  pounds  of  indigo  for 
each  hundred  gallons  of  water.  Vats  of  the  dimensions 
above  indicated  will  hold  about  a thousand  gallons, 
and  forty  pounds  of  indigo  will  suffice  to  produce  an 
intense  blue  at  four  or  five  immersions.  To  one  part 
of  the  best  indigo,  use  two  parts  by  weight  of  green 

H 


58 


copperas,  (green  vitriol)  and  two  and  a half  parts  of 
well  burnt^  recently  hurnty  slacked  and  sifted  lime. 
The  copperas  also  should  be  fresh;  not  covered  with 
an  ochry  yellow  rust;  it  should  be  well  crystallized;  if 
it  be  already  oxygenated  by  the  oxygen  of  the  atmos- 
phere, it  will  not  so  well  serve  to  disoxygenize  the 
indigo.  I again  repeat  the  absolute  necessity  of  having 
the  indigo  very  finely  ground  throughout.  Put  in  the 
indigo  first,  then  the  copperas  finely  bruised,  intro- 
duced in  a basket  suspended  in  the  vat,  or  else  pre- 
viously dissolved  in  water,  which  I think  is  the  best 
way;  the  lime  should  not  be  added  till  the  copperas  be 
dissolved.  Let  the  whole  be  then  raked  up  for  about 
wenty  minutes.  If  the  rake  worked  through  a hole  in 
the  cover,  it  would  be  better.  The  vat  should  then  be 
covered  with  a cover  in  two  pieces,  to  exclude  as 
much  as  possible  the  atmospheric  air,  which  would 
gradually  furnish  fresh  oxygen  to  the  oxyd  of  iron, 
and  to  the  indigo,  and  also  carbonic  acid  to  the  lime. 
In  two  hours,  rake  it  up  again  for  ten  minutes,  and 
again  cover  it.  In  a short  time  it  will  exhibit  signs  of 
the  indigo  being  dissolved,  becoming  of  a dark  green 
colour,  with  veins  of  blue.  Rake  the  vat  two  or  three 
times  a-day  during  two  days;  when  it  appears  of  a 
yellowish  green  after  being  raked  up,  the  solution  is 
complete;  let  it  subside  for  eight  or  ten  hours,  and 
then  dye  your  goods.  I consider  this  as  an  approved 
process  for  the  callicoe  blue  vat. 

Another  process  for  the  Indigo  Dye  on  Cotton.  There 
are  various  methods  practised  by  the  callicoe  printers 
and  dyers  to  take  the  oxygen  from  indigo.  The  fol- 


59 


lowing  is  used  by  the  dyers  of  cotton  goods,  whose 
pieces  are  generally  from  24  to  2S  yards  long,  and 
from  six-quarters  to  nine-eighths  wide.  Having  two 
vats  each  six  feet  deep,  three  and  a half  feet  wide,  and 
six  feet  long,  with  a light  frame  to  go  easily  out  and  in, 
and  two  slides  on  the  two  sides,  to  move  up  aad  down, 
with  copper  hooks  on  the  slides,  and  on  each  side  of 
the  frame,  on  which  they  can  be  fastened  by  the  two 
selvages  at  the  top  and  bottom  of  the  piece.  The 
slides  are  for  the  purpose  of  stretching  the  pieces,  and 
are  moveable, j that  they  may  be  placed  according  to 
the  width  of  the  goods.  Take  eight  pounds  of  good 
indigo  zve//  ground,  boil  each  pound  in  one  gallon  of 
water  with  two  pounds  of  potash  for  two  hours,  and 
then  put  it  in  one  of  the  vats  previously  charged  with 
water.  Add  four  pounds  of  well  burnt,  fresh  lime, 
slacked  and  sifted  immediately,  for  each  pound  of  in- 
digo; that  is,  two  pounds  of  lime  to  one  pound  of  pot- 
ash; stir  up  the  vat  well,  then  add  two  pounds  of  well 
crystallized  clean  copperas  for  each  pound  of  indigo. 
Stir  it  well  again;  let  it  settle  (closely  covered)  for 
twenty. four  hours,  at  which  time  or  near  it,  the  vat  will 
be  fit  to  work.  Add  or  diminish  your  indigo,  and  the 
proportions  of  the  other  ingredients,  according  to  the 
shade  of  blue  your  pieces  require.  As  the  vat  becomes 
weaker  add  lime  and  copperas  in  the  above  propor- 
tions till  you  have  exhausted  all  your  indigo.  (In  this 
vat,  I do  not  approve  of  so  much  potash.  T.  C.)  The 
other  vat,  which  is  filled  with  pure  water,  is  intended 
to  dip  the  pieces  stretched  on  the  frame,  in  and  out, 
on  taking  them  out  of  the  dye- vat,  by  which  means 


60 


the  colour  is  rendered  regular  and  even,  and  free  from 
Stains:  for  the  liquor  of  the  dye-vat  when  it  first  re- 
ceives the  air,  fixes  on  the  piece;  and  in  taking  the 
piece  out  of  the  vat,  runs  from  the  top  selvage  to  the 
bottom  one,  and  acquires  oxygen  from  the  air:  thus 
the  bottom  selvage,  without  this  precaution,  would  be 
of  a deeper  colour  than  the  top  one;  which  irregu- 
larity of  colour  is  prevented  by  the  water  vat,  as  the 
piece  is  plunged  immediately  into  it,  on  its  being 
taken  out  of  the  indigo  vat;  it  washes  off  the  colour- 
ing matter  that  would  lie  in  loose  particles,  while  at 
the  same  time  the  water  gives  out  some  oxygen  from 
the  atmospheric  air,  which  all  water  contains  in  small 
quantity:  this  oxygen  is  sufficient  to  fix  the  indigo 
that  has  entered  the  interior  part  of  the  cloth.  For 
dark  blues,  the  water  vat  may  be  dispensed  with,  as  the 
marks  formed  by  the  running  of  the  colour  are  not 
observed;  but  for  light  blues  it  is  indispensable. 

The  more  perfectly  the  indigo  is  de-oxyded  the 
better;  this  is  known  by  the  uniform  green  colour  of 
the  liquor  in  the  vat.  The  cloth  should  remain  in  the 
liquor  one  hour,  so  as  to  insure  a complete  penetration 
of  the  dye:  for  the  oftener  it  is  dipped  and  receives 
the  air,  and  is  dipped  again,  the  more  of  it  lies  on  the 
surface  uncombined,  and  by  friction  and  wearing  falls 
off.  There  have  been  some  dark  blues  that  would  bear 
as  much  colour  to  be  rubbed  and  beaten  oft',  as  might 
dye  a good  light  blue. 

In  general,  after  the  blues  are  taken  out  of  the 
water  vats,  they  are  run  through  a cold  liquor  com- 
posed of  water  and  sulphuric  acid,  about  the  strength 


61 


of  common  vinegar.  This  neutralizes  the  lime  and 
alkali  that  may  adhere  to  the  cloth,  and  also  turns  the 
green  tinge  to  a blue,  inasmuch  as  the  sulphuric  acid 
; oxygenates  (that  is,  gives  oxygen  to)  the  indigo.  To  get 
I rid  of  this  sour  liquor  they  must  be  rinced  in  cold,  and 
then  in  hot  water.  If  a little  alum  be  dissolved  in  this 
I hot  water,  the  colour  is  supposed  to  be  inrproved  in 
fixity. 

I Before  I make  my  remarks  on  these  two  processes 
!i  employed  in  England,  I shall  give  those  employed  in 
France,  from  the  late  work  of  Berthollet  and  Son,  vol. 
2,  page  82,  of  the  French  edition  of  lb04,  from  which 
I translate  it. 

Blue  Indigo  Fat  for  Cotton^  according  to  M.  Lc 
Pileur  W’Apligny. — To  dye  linen  and  cotton  blue. 
Fix  a vat  or  cask  that  will  hold  about  five  hundred 
litres  (one  thousand  and  thirty-two  wine  gallons).  For 
such  a vat  three  or  four  kilogrammes  of  indigo  are 
employed  (from  105,8  to  141,1  avoirdupois  ounces, 
that  is  in  round  numbers,  from  six  pounds  and  a half 
to  nine  pounds  avoirdupois).  This  indigo  is  well  and 
carefully  ground  into  an  impalpable  powder  (a  condi- 
tion always  to  be  insisted  on)  and  then  boiled  with  a 
ley  or  lixivium  drawn  clear  from  a quantity  of  potash 
double  in  W'eight  to  the  indigo,  and  a quantity  of  lime 
of  an  equal  weight  with  the  indigo.  This  rnust  be  well 
stirred  during  the  boiling,  which  may  be  in  an  iron 
pot  well  cleaned,  in  order  that  the  whole  of  the  indigo 
may  be  fully  penetrated  and  intimately  mixed  with 
the  clear  liquor  of  the  potash  and  lime;  it  must  be 


\ 


62 


well  stirred  and  prevented  from  sticking  to  the  sides 
and  bottom  of  the  pot. 

While  the  indigo  'is  boiling,  slack  with  hot  water 
sprinkled  on  it,  a quantity  of  lime  equal  in  weight  to 
the  indigo:  add  to  it  twenty  litres  (5,16  wine  gallons) 
of  boiling  water;  dissolve  also  of  green  vitriol  or  cop- 
peras bridsed,  a quantity  equal  to  double  the  weight 
of  the  indigo.  When  dissolved,  pour  it  into  the  vat 
already  half  filled  with  water;  then  pour  in  the  indigo 
and  the  alkaline  lixivium,  then  the  lime  and  the  water 
in  which  it  is  dissolved  or  mixed.  Stir  all  up  once  or 
twice,  then  fill  the  vat  to  w ithin  three  fingers  breadth 
of  the  top;  stir  it  again  well  together;  cover  it  close; 
stir  it  up  twice  or  thrice  a day,  till  the  vat  is  in  order 
for  dyeing,  which  in  summer  will  be  about  forty- 
eight  hours,  in  winter  something  more. 

To  this  vat  some  dyers  add  a little  madder  and  bran; 
(which  are  not  necessary  but  may  be  of  use)  they  use 
this  at  Ycctot. 

T/ie  Process  at  Rouen,  in  Normandy,  detailed  by 
M.  Quatremere  D’Isjonval,  who  has  spent  much  la- 
bour in  the  investigation  of  the  properties  of  indigo, 
is  as  follows. 

The  vats  are  built  of  a flinty  kind  of  stone,  plaister- 
ed  within  side  and  without  with  a fine  cement.  (This 
may  be  made  of  fresh  lime  slacked  and  sifted,  one  part, 
fine  sand  sifted,  five  parts.  Terras  or  Puzzuolana,  one 
part,  beat  up  into  a paste  wdth  beaters,  and  then  ap- 
plied. T,  C.)  There  are  several  in  the  same  dye-house, 
ranged  in  opposite  rows.  The  vats  contain  about  288 
wine  gallons,  (four  muids)  and  will  bear  nine  or  ten 


63 


kilogrammes  (about  twenty-two  pounds  avoirdupois) 
of  indigo.  The  indigo  is  permitted  to  macerate  or 
soak  during  eight  days  in  a caustic  ley  of  potash  of 
strength  sufiicient  to  bear  an  egg:  (It  is  not  said  how 
much.  T.  C.)  It  is  then  ground  in  a hand  mill  into  a 
fine  paste.  The  vat  being  filled  with  water  near  to  the 
top,  a quantity  of  fresh  burnt  slacked  lime  is  intro- 
duced equal  in  weight  to  the  indigo;  the  vat  is  then 
stirred,  and  eighteen  kilogrammes  or  about  forty 
pounds  of  pounded  green  vitriol  or  copperas  are 
thrown  in;  the  vat  is  stirred  till  this  is  dissolved. 
Then  the  indigo  is  washed  in,  through  a very  fine 
sieve,  the  unground  particles  being  ground  over  again. 
It  is  stirred  eight  times  the  first  day,  and  after  a re- 
pose of  six  and  thirty  hours  it  is  ready  for  dyeing. 

(In  this  receipt  the  quantity  of  lime  is  given,  but 
the  quantity  of  potash  used  to  make  the  caustic  lixi- 
vium in  which  the  indigo  is  ground,  is  not  given.  It 
appears  to  me  that  if  potash  be  used  at  all,  it  ought 
not  to  be  less  than  pound  for  pound  of  indigo,  for  the 
lime  will  be  fully  decomposed  by  the  copperas.  T.  C.) 

The  dyer  ought  to  have  several  of  these  vats,  so  that 
some  might  be  set  at  various  periods  of  time.  Moisten 
the  cotton  equally  in  w'ater  before  you  introduce  it; 
press  it  so  that  it  shall  be  merely  but  equally  moist. 
Dip  it  first  in  the  vat  which  is  the  most  exhausted; 
then  in  the  vat  a little  less  exhausted;  and  so  on, 
finishing  with  the  strongest;  or  until  you  have  pro- 
cured the  required  hue.  It  should  not  remain  in  each 
vat  more  than  five  or  six  minutes  at  a time,  for  it  will 


64 


imbibe  in  that  time,  as  much  colour  as  the  vat  in 
which  it  is  dipped  avill  furnish. 

A vat  intended  to  be  used,  should  be  well  stirred, 
and  left  to  settle  twenty-four  hours  at  least  if  an  old 
vat,  but  not  quite  so  long  if  it  be  a new  vat,  before 
the  goods  are  entered. 

When  a vat  has  been  used  three  or  four  times,  it 
begins  to  change:  when  it  is  stirred,  it  no  longer  ex- 
hibits blue  veins  on  its  surface;  it  turns  black;  and  in 
this  state  requires  to  be  refreshed.  This  is  done  by 
adding  about  two  kilogrammes  (about  four  pounds 
and  a quarter,)  of  green  copperas  or  sulphat  of  iron, 
and  one  kilogramme  or  about  two  pounds  of  lime. 
Let  it  be  twice  stirred  or  raked,  and  left  to  settle.  A 
vat  may  be  refreshed  three  or  four  times,  by  adding 
the  quantity  of  ingredients  which  it  is  deficient  in, 
employing  the  original  proportions. 

In  these  vats  (says  Berthollet)  it  is  the  potash  and 
the  lime  that  dissolve  the  indigo,  which  is  first  depriv- 
ed of  oxygen  by  means  of  the  iron  which  is  precipi- 
tated from  the  green  copperas.  (But  in  this  vat  of  M. 
Quatremere  D’Isjonval,  it  appears  to  me,  that  the 
sulphuric  acid  of  the  copperas  is  very  nearly  sufficient 
to  convert  all  the  lime  employed  into  sulphat  of  lime 
or  gypsum,  which  is  of  no  use  in  the  vat,  and  that  the 
potash  alone  is  the  solvent  of  the  indigo.  T.  C.) 

M.  M.  Berthollets’  proceed.  Lime  alone  may  be 
used  to  precipitate  the  iron  of  the  sulphat  of  iron,  and 
to  dissolve  the  oxyded  indigo,  but  the  same  depth  of 
colour  cannot  be  obtained  from  indigo  dissolved  in 
lime  alone,  as  in  potash,  or  lime  combined  with  pot- 


65 


\ 

] 


I 

1 

i 


ash;  at  least  the  same  depth  of  colour  is  not  so  quickly 
and  so  readily  produced:  but  this  is  frequently  an  ad- 
vantage. Some  dyers,  strengthen  the  lime  vat  by  the 
addition  of  orpiment  and  potash.  (In  England  the 
lime  vat  alone,  is  most  used  by  the  callicoe  printers. 
T.  C.) 

Bergman  and  Haussman  have  given  particular  de- 
scriptions of  this  vat,  with  proportions  of  the  ingre- 
dients in  some  respects  different.  The  last  author 
(who  is  by  trade  a dyer  and  callicoe  printer  in  Ger- 
many T.  C.)  observes,  that  the  sulphat  of  iron  (green 
copperas)  ought  not  to  contain  any  copper  or  blue 
copperas.  For  this  ingredient  is  apt  to  re-oxyd  the 
indigo,  that  is,  turn  it  blue;  which  is  an  effect  that 
ought  never  to  be  produced  but  upon  the  dyed  cloth. 
(But  green  copperas  or  sulphat  of  iron,  very  seldom 
contains  any  copper.  T.  C. ) He  remarks  also  that  the 
blue  tint  is  improved  by  passing  the  cloth  through 
water  acidulated  with  the  acid  of  sulphur.  (It  is  not 
improved,  but  brought  on,  sooner.  T.  C.) 

We  {Berthollet  and  Son)  will  now  describe  a vat  of 
this  kind,  which  has  stood  the  test  of  experience;  and 
note  the  uses  to  which  it  may  be  put. 

The  ingredients  are  employed  in  the  following  pro- 
portion. One  part  by  weight  of  indigo,  two  parts  of 
sulphat  of  iron,  (green  copperas),  and  two  parts  of 
fresh  burnt  lime.  These  ingredients  must  be  treated 
in  the  manner  herein  before  directed,  and  when  the 
vat  is  filled,  and  several  times  raked  and  stirred;  it  is 
then  left  to  rest  for  two  days,  when  it  will  be  found 
ready  for  use;  perhaps  somewhat  sooner. 


I 


66 


Before  you  dye  with  this  vat,  scum  off  the  froth  on 
the  surface.  Every  night,  when  the  men  are  about  to 
leave  Avork,  this  vat  is  refreshed,  by  adding  to  it  some 
of  the  liquor  out  of  a small  vat  set  for  the  purpose, 
with  a much  less  proportion  of  water  to  the  other  in- 
gredients, so  that  the  small  vat  contains  a stronger  dye 
stuff:  the  froth  set  by,  is  also  returned  into  the  dyeing 
vat;  which  is  raked  and  left  to  subside,  well  covered, 
till  morning.  When  the  dye-vat  becomes  weak,  it 
may  also  be  strengthened  by  the  addition  of  lime  and 
sulphat  of  iron,  in  the  original  proportions. 

The  pieces  are  stretched  on  hooks  on  a frame  which 
is  let  down  into  the  vat  by  a pulley:  the  pieces  in  the 
vat  are  gently  moved  to  aid  their  imbibing  the  dye 
equally.  The  whole  of  the  piece  is  immersed  without 
touching  the  sediment.  Having  given  it  time  to  be- 
come oxyded,  that  is,  to  change  in  the  air  from  green 
to  blue,  it  is  carefully  washed:  while  green,  the  dye  is 
soluble  in  water;  but  when  by  oxydation  it  becomes 
blue,  it  is  no  longer  so.  This  washing  is  more  neces- 
sary, if  there  are  plaees  in  the  piece  protected  by 
paste- work  from  the  dye.  To  dye  for  instance  two 
blues  and  a white,  the  paste- work  is  printed  on  the 
white  and  also  on  the  light  blue  part  of  the  pattern. 
When  dyed,  it  is  well  washed,  and  when  dry,  it  is 
printed  with  paste- work  on  the  white  part  of  the  pat- 
tern; so  that  the  blue  ground  is  twice  dyed,  the  pale 
blue  once  dyed;  and  the  white  protected  throughout 
these  operations.  When  the  white  part  is  to  be  again 
dyed  of  any  colour,  the  mordant  is  mixed  with  the 
last  paste. 


67 


For  reserved  parts  of  a pattern,  it  is  also  common 
to  make  use  of  the  known  property  of  copper,  to 
yield  its  oxygen  to  the  indigo,  and  by  that  means 
prevent  its  fixing  permanently  on  the  places  so  pro- 
tected. (Hence  pastes  usually  contain  blue  vitriol. 
T.C.) 

Bergman  and  Scheffer y also  describe  another  vat, 
very  convenient  for  linen  and  cotton  thread  and  yarn, 
but  not  particular  enough  as  to  proportions.  Take  a 
strong  solution  of  potash,  add  to  it  while  hot,  about 
three  drachms  troy  weight  of  finely  ground  indigo 
for  each  wine  quart  of  the  liquor;  when  the  indigo  is 
perfectly  penetrated  by  and  moistened  with  the  alka- 
line liquor,  add  of  finely  powdered  orpiment  six 
drachms  troy  weight;  stir  it  well;  in  a very  short 
time  it  becomes  green  with  a blue  froth;  draw  the  fire 
and  dye  with  it. 

Berthollet  then  goes  on  to  give  receipts  for  the 
common  pencil  blue  of  the  callicoe  printers,  of  which 
the  last  above  detailed  is  one.  Although  in  this  part 
of  the  work  I have  nothing  to  do  with  callicoe  print- 
ing, yet  every  dyer  will  better  understand  his  own 
processes,  by  being  made  acquainted  with  all  the  me- 
thods in  use  to  give  a blue  dye  or  tinge  by  means  of 
indigo.  I do  not  therefore  think  it  time  misemployed 
to  translate  the  rest  of  this  chapter  of  Berthollet’s 
work,  adding  my  own  receipts  for  pencil  blue,  which 
I know  to  be  good,  though  almost  all  the  colour-men 
at  printing  works  vary  a little  in  their  proportions  of 
the  ingredients.  ' 

This  vat  (say  the  Messrs.  Berthollet,  Elemens  de 


68 


Tart  cle  la  Teinture,  tom.  2d,  page  90,  edit.  1804) 
does  not  differ  from  the  preparation  used  by  the  cal- 
licoe  printers,  and  called  Bleu  d* application^  pencil- 
blue,  except  in  the  proportions  of  orpiment  and  indigo, 
which  are  much  greater  among  the  last  mentioned 
artists.  For  this  preparation,  they  use  according  to 
Haussman  one  hundred  parts  water,  fifteen  potash,  six 
lime,  six  orpiment  and  eight  indigo.  M.  Oberkampf, 
whose  processes  are  fixed  with  great  consideration, 
uses  still  more  indigo.  In  Bergman’s  process,  indigo 
bears  the  proportion  but  of  one  part  to  twenty-four  of 
water;  in  Scheffer’s  process,  a still  less  proportion  of 
indigo  is  used;  in  Haussman’s  the  indigo  is  one- 
twelfth;  in  Oberkampf’s  one-ninth.  The  proportions 
of  the  several  ingredients  beside  the  indigo,  vary  also 
in  the  several  recipes:  so  that  it  should  appear  that 
they  admit  of  considerable  latitude  in  this  respect;  but 
the  best  proportions  have  not  yet  been  determined  by 
direct  experiment. 

Hence  it  appears  that  the  callicoe  printers  use  three 
methods  of  dyeing  the  cloth  of  which  the  ground  is 
intended  to  be  blue  or  green;  and  when  they  are  al- 
ready printed  in  parts,  with  colours  that  the  blue  vat 
ought  not  to  act  upon,  these  colours  are  protected  by 
a reserve  of  paste-work. 

If  the  cloth  is  intended  to  have  a white  ground,  and 
to  exhibit  patterns  with  one  or  two  blues,  the  second 
method  is  employed.  Sometimes  one  or  two  colours 
are  joined  to  the  blue  thus  raised;  but  in  this  case 
they  must  be  printed  after  the  operation  of  the  blue 


69 


vat,  for  there  are  few  colours  which  the  blue-dyer’s 
liquor  will  not  act  upon  and  alter,  if  not  discharge. 

Thirdly,  it  is  required  under  other  circumstances, 
to  give  a blue  stain  to  small  and  minute  parts  of  a pat- 
tern already  printed;  in  this  case  the  blue  is  pencilled 
on  the  spots  required,  whether  it  be  on  white  to  give 
a blue,  or  on  yellow  already  raised,  to  give  a green. 

Pencil  blue  may  be  printed  by  the  block  when  pro- 
perly thickened  with  gum,  but  the  indigo  is  easily 
oxyded,  and  it  can  only  succeed  for  small  objects,  and 
where  the  colour  is  required  to  be  intense;  and  even 
then  rarely.  (It  is  certainly  liable  to  the  objection  Ber- 
thollet  mentions  of  being  easily  oxyded,  but  it  can  be 
printed  even  on  blotch  grounds,  though  not  so  conve- 
niently. T.  C.) 

Bancroft  says  he  has  substituted  sugar  for  orpiment; 
and  others  speak  of  grinding  the  indigo  with  oxyd  of 
tin;  but  as  these  experiments  have  not  received  the 
sanction  of  practice,  I shall  not  translate  the  remarks 
of  M.  M.  Berthollets  concerning  them. 

Pencil  Blue  of  the  Manchester  printers^  is  made 

thus: 

Take  eighteen  parts  fresh  burnt  lime;  slack  it;  add 
to  it  twelve  parts  of  potash;  dissolve  in  boiling  water, 
so  as  to  draw  off  a strong  ley;  when  this  ley  is  drawn 
off,  add  other  boiling  w^ter,  and  pour  off  the  clear 
liquor;  do  so  again;  and  if  not  exhausted,  a third 
time;  add  all  the  clear  together  into  one  lixivium  or 
ley,  which  should  be  of  such  a strength  that  an  egg 
will  barely  sink  in  it;  when  in  this  state,  add  an  equal 
quantity  of  hot  water:  then  add  to  it  while  warm  (not 


70 


very  hot)  of  finely-ground  indigo  eighteen  parts;  and 
orpiment  ten  or  twelve  parts;  stir  them  well  toge- 
ther and  cover  them  so  as  to  exclude  the  air.  This 
must  be  thickened  with  gum  arabic  in  powder. 

Another.  Take  one  part  (as  one  ounce)  of  indigo 
finely  ground  as  usual;  half  an  ounce  of  orpiment, 
eight  ounces  of  pearl  ashes,  and  as  much  lime;  draw 
off  a clear  ley  from  the  ashes  and  lime;  boil  it  to 
the  strength  and  quantity  of  caustic  ley  you  want; 
then  put  in  the  indigo;  boil  it  one  hour;  take  it  off  the 
fire,  and  let  it  cool;  stir  in  the  orpiment;  thicken  with 
gum  arabic. 

China  Blue.  This  is  a light  blue,  dyed  by  the  cal- 
licoe  printers  in  a peculiar  manner.  The  indigo,  very 
finely  ground,  is  mixed  with  gum  water  of  the  con- 
sistence necessary  for  block-printing;  with  this  mix- 
ture print  on  the  table  with  a block,  the  blue  part  of 
the  pattern.  Have  ready  two  vats  of  the  usual  dimen- 
sions for  two  pieces  of  callicoe,  furnished  with  frames, 
hooks,  &c.;  let  the  water  in  one  of  the  vats  be  satu- 
rated with  green  copperas,  that  is,  put  in  as  much 
copperas  as  it  will  dissolve;  and  the  water  in  the  other 
with  as  much  lime  as  it  will  take  up,  or  rather  with  a 
considerable  surplus,  for  too  much  can  do  no  harm. 
Let  the  piece  hooked  on  the  frame,  be  dipt  alternately, 
in  the  one  vat  and  the  other,  till  the  copperas  having 
de-oxyded  the  indigo,  the  lime  dissolves  it  and  fixes 
it  on  the  cloth;  which  after  the  operation  is  to  be  well 
washed. 

The  callicoe  printers  commonly  pencil  a blue  on 
top  of  a yellow;  in  which  case,  orpiment  must  be  used 


71 


to  disoxygenate  the  indigo  instead  of  copperas,  which 
would  strike  a blackish  colour  with  the  yellow. 

Another  China  Blue.  The  proportions  in  my  time, 
managed  as  above,  were  twelve  parts  indigo,  twelve 
parts  lime,  ten  parts  green  copperas,  and  four  parts 
iron  liquor,  which  is  acetat  of  iron.  This  also  was 
used  as  a pencil-blue.  «» 

The  following  are  the  observations  of  Homassel,  on 
the  callicoe  dyer’s  blue  vat.  The  callicoe  dyers  set 
their  vat  cold;  and  employ  a great  many  articles  with- 
out knowing  why.  To  dye  pieces  that  are  protected 
by  paste  work,  nothing  ought  to  enter  the  vat,  which 
will  destroy  the  acid  composition  used  in  the  paste. 
Hence  the  vat  ought  to  be  set  with  nothing  but  in- 
digo, green  copperas,  lime,  and  a small  quantity  of 
soda,  wherever  the  custom  of  the  shop  runs  upon 
paste  work.  Potash  decomposes  the  blue  vitriol,  which 
forms  the  basis  of  the  composition,  and  yet  many 
dyers  set  their  vat  with  potash,  or  with  soap  boiler’s 
ley,  which  they  use  to  boil  their  indigo  with.  These 
_ callicoe  vats  are  generally  of  wood  lined  with  lead, 
and  hold  two  hundred  buckets  of  water;  in  such  a vat, 
they  employ  thirty  pounds  of  indigo,  which  is  ma- 
naged just  as  easily  as  a vat  made  of  a brandy  cask. 
The  indigo  is  usually  ground  in  a metal  basin  some- 
what inclined,  by  means  of  three  or  four  twelve  pound 
cannon  balls,  which  boys  roll  in  the  basin  till  the  in- 
digo is  ground  into  a paste,  that  can  be  scraped  off 
the  basin  without  leaving  any  sticking  to  it.  A boy  of 
twelve  years  old  can  thus  grind  ten  pounds  of  indigo 
in  a day.  But  the  grinder  ought  never  to  be  impli- 


citly  trusted.  No  indigo  should  ever  be  used  but 
such  as  has  passed  through  a fine  sieve.  Even  minute 
grains  unground,  are  mere  loss.  Also,  diligent  search 
should  be  used,  lest  the  vat  should  leak,  for  it  is  the 
most  valuable  part  of  the  contents  that  will  leak  out. 

If  a brandy  cask  holding  about  120  or  130  gallons, 
is  used  as  a vat,  the  ingredients  should  be  five  pounds 
of  indigo,  one  pound  of  soda,  five  and  a half  pounds 
of  lime,  and  five  pounds  of  copperas  or  green  vitriol. 
Abstain  from  potash,  which  always  sets  the  colouring 
particles,  so  that  they  are  washed  into  the  river  to 
mere  loss,  besides  attacking  the  reserve  or  paste- 
work. 

Dissolve  a pound  of  soda  and  half  a pound  of  lime, 
in  which  solution  you  may  grind  your  indigo;  when 
ground,  put  it  in  the  vat,  which  should  be  filled  with 
water  within  a foot  of  the  top.  Then  dissolve  in  hot 
water  five  pounds  of  English  green  copperas,  which 
must  also  be  turned  into  the  vat;  then  slack  your  lime 
with  a small  quantity  of  water,  and  turn  it  in  powder 
into  the  vat;  then  throw  in  the  grounds  of  the  soda, 
lime,  and  indigo;  stir  the  whole  together,  and  let  it 
rest  covered  all  night.  Early  in  the  morning  stir  it, 
and  about  nine  o’clock  it  will  be  readv  to  use,  if  it 
has  been  left  to  settle  four  hours.  If  the  vat  should 
not  be  in  order  for  some  hours  afterward,  dissolve 
half  a pound  of  copperas  in  four  or  five  quarts  oE 
water.  The  vat  should  be  of  a yellowish  green;  if  too 
yellow,  a small  quantity  of  lime  will  correct  it.  , ^ 

When  this  vat  has  once  been  set,  and  you  wish  to; 
refresh  it,  it  should  not  be  done  with  more  than  a 


7S 


pound  of  copperas  and  about  three-fourths  of  a pound 
of  lime  at  a time.  When  the  vat  has  been  served  with 
five  pounds  of  indigo  and  ten  pounds  of  lime,  put  in 
no  more,  or  at  least  very  sparingly;  should  it  blacken 
with  too  much  copperas,  add  lime  till  it  is  brought 
about,  and  becomes  again  green.  When  the  vat  is 
black,  it  wants  copperas;  when  too  yellow,  it  requires 
lime. 

Pencil  Blue  is  made  w'ith  one  pound  of  indigo,  as 
much  potash,  as  much  red  orpiment,  and  two  pounds 
of  lime;  they  may  all  be  ground  well  together  if  time 
presses,  and  boiled  in  three  or  four  gallons  of  water, 
keeping  it  stirred  all  the  time.  Indeed  the  water  need 
not  actually  boil,  but  near  it.  To  one  quart  of  this  so- 
lution one  pound  of  gum  Senegal  is  put  to  thicken  it. 
If  you  are  not  in  haste,  dissolve  the  potash  and  lime, 
and  grind  the  indigo  in  the  clear  solution  with  the 
orpiment,  in  which  case,  if  the  water  be  warm,  it  suf- 
fices; it  need  not  boil.  When  in  order  for  printing  or 
penciling,  it  is  of  a fine  green,  with  a beautiful  scum 
at  the  top.  Linen,  cotton,  and  even  silk,  may  be  dyed 
in  this  liquor  when  diluted,  but  it  does  not  answer 
well  for  woollen. 

(Upon  these  processes  of  Homassel,  I would  remark, 
that  the  acid  paste-work  is  acted  upon  by  soda  and 
lime,  almost  as  soon  and  as  effectually  as  by  potash; 
and  it  is  the  business  of  the  printer  to  use  such  a paste, 
as  will  stand  the  usual  blue  vat.  Such  a vat  as  he  re- 
commends, however,  may  keep  the  indigo  in  perfect 
solution  if  the  lime  be  good.  As  to  his  pencil  blue, 
the  quantity  of  orpiment  is  in  my  opinion  a fourth  too 

K 


74 


'i 


much,  and  the  lime  nearly  twice  as  much  as  is  neces- 
sary, if  it  be  good.  Nor  can  silk  be  safely  dyed  where 
the  liquor  is  so  strong  of  the  caustic  alkali.  Homas- 
sel’s  receipts  are  manifestly  the  result  of  practice  as  a 
dyer,  but  I suspect  he  was  not  quite  so  well  acquainted 
with  printing.  T.  C.) 

Having  now  given  all  the  known  processes,  for  the 
woollen  blue  dye  vat — the  cotton  blue  dye  vat — the 
pencil  blue — and  the  China  blue  of  the  callicoe  printers, 
I shall  give  a summary  of  the  proportions  used  in  the 
respective  processes  of  the  English,  French,  German 
and  Swedish  dyers,  in  setting  the  vats  with  indigo; 
and  then  my  own  remarks. 


Proportions  of  the  ingredients  used  for  the  indigo 
BLUE  VAT  FOR  DYEING  WOOLLENS,  bv  the  English  y 
dyers. 

Indigo,  by  weight,  two  parts.  ' ‘ 

Potash  two  parts. 

Bran  sifted  two  parts. 

Madder  one  part. 


By  the  French  dyers. 

The  vat  described  by  Messrs.  Berthollet^  from  D’Or-  i- 
val  and  Ribaucourt,  is  nearly  the  same  as  the  above,  C 
except  the  proportion  of  madder  is  smaller,  for  which  J 
it  is  so  much  the  worse.  ^ 

The  vat  used  by  M.  Homassel,  whom  I regard  asu 
good  authority,  consists  of,  ijP 

Indigo  one  part. 

Pearl  ash  two  parts,  ( which  I think  half  a part 
at  least  too  much.  T.  C.) 


( 


I 


75 


Bran,  about  three  quarts  to  the  pound  of  in- 
digo. 

Madder  half  a part. 

Proportions  for  the  Blue  Indigo  Callicoe  Fat. 

English.  Indigo,  one  part. 

Fresh,  clear,  green  copperas,  two  parts. 

Fresh  lime,  two  parts  and  a half.  This  is  good. 

Another  English. 

Indigo  one  part. 

Potash  two  parts. 

Lime  four' parts. 

Copperas  two  parts. 

I eonsider  this  as  a bad  process:  first,  because  the 
potash  acts  too  speedily  on  paste-work,  and  because 
two  parts  of  potash  are  more  than  sufficient  to  dissolve 
the  indigo,  especially  with  lime;  and  because  the  pot- 
ash may  be  well  deprived  of  all  its  carbonic  acid  by 
an  equal  part  of  lime,  if  good. 

The  French  callicoe  blue  vats. 

Messrs.  Berthollets'  vat. 

Indigo  one  part. 

Lime  two  parts. 

'Green  copperas  two  parts. 

This  vat  has  the  advantage  of  experience,  but  I am 
persuaded  that  the  lime  is  in  too  small  proportion  if  it 
be  not  quite  hot  from  the  kiln,  in  which  case  it  may 
be  enough. 

M.  Homassels  vat. 

Indigo  five  parts. 


76 


i 


Soda  one  part. 

Lime  five  parts  and  a half. 

Copperas  five  parts. 

The  soda  appears  to  me  no  better  than  pearl  ash; 
and  the  lime  in  proportion  rather  too  small. 

The  Rouen  vat  for  callicoe,  according  to  M.  Qua- 
tremere. 

Indigo,  steeped  for  eight  days  in  strong  soap- 
ley,  one  part. 

Lime  one  part.  (Too  little.  T.  C.) 

Green  copperas  one  part  and  three  fourths. 

The  French  callicoe  vat  according  to  M.  Pileur 
d’Apligny. 

Indigo  one  part,  boiled  in  a ley  made  of 
Lime  one  part  and  potash  two  parts.  Then, 
One  other  part  of  lime  in  hot  water. 

Green  copperas  two  parts. 

Swedish  vat  proposed  by  Bergman.  Opuscula  vol. 
5,  p.  43. 

Indigo  one  part. 

Green  copperas  one  part.  (Too  little.  T.  C.) 
Lime  two  parts. 

German  vat.  Gulich. 

Indigo  one  part. 

Lime  three  parts. 

Green  copperas  three  parts.  (Too  much.  T.  C.) 
Orpiment  one  part  and  a half.  (Unnecessary. 
T.  C.) 


77 


German  vat.  Haussman. 

Iiidig:o  twelve  to  twenty  parts. 

Lime  three  times  as  much. 

Green  copperas  twice  and  a half  the  weight  ol 
indigo. 

Pencil  Blue.  English. 

Indigo  one  part  and  a half. 

Potash  one  part. 

Lime  one  part  and  a half. 

Orpiment  about  half  a part. 

Another. 

Indigo  one  part. 

Pearl  ashes  and  lime  each  half  a part; 
Orpiment  half  a part. — Both  these  proportions 
are  too  small. 

French.  Homassel. 

Indigo  one  part. 

Potash  one  part. 

Lime  two  parts. 

/ Red  orpiment  one  part. 

German.  Haussman  and  Oberkampf. 

Indigo  eight  to  ten  parts. 

Potash  fifteen  parts,  or  once  and  a half  the 
weight  of  indigo. 

Lime  three-fourths  the  weight  of  indigo.  (Bet- 
ter an  equal  weight.  T.  C.) 

Orpiment  three-fourths  the  weight  of  indigo. 


78 


Proportion  of  water  varies  from  twelve  to 
twenty  times  the  weight  of  indigo. 

German^  according  to  Gulich. 

Indigo  one  part. 

Potash  four  parts.  (Nearly  three  parts  too 
much.  T.  C.) 

Lime  one  part. 

Orpiment  one  and  a half  part. 

Gulich  uses  this  also  for  the  indigo  vat  for  dyeing 
woollens;  but  so  much  alkali  is  not  only  unnecessa- 
ry to  dissolve  the  indigo,  but  it  would  act  on  the 
cloth.  T.  C. 

German.  Haussman. 

Indigo  sixteen  parts. 

Potash  thirty  parts.  (Somewhat  too  much. 

r.  c.) 

* Lime  twelve  parts. 

Orpiment  twelve  parts. 

Swedish.  Bergman.  5 Opusc.  43. 

Strong  soap-ley  two  quarts.  (Bad  for  uncer- 
tainty. T.  C.) 

Indigo  three  drachms. 

Orpiment  six  drachms.  ^ 

China  Blue.  English. 

Indigo  twelve  parts. 

Green  copperas  ten  parts. 

Iron  liquor  four  parts.  (Bad  for  uncertainty.) 
Lime  twelve  parts.  (Too  little.  T.  C.) 


79 


Such  are  the  varieties  in  the  processes  used  in  differ- 
ent work-shops  in  the  same  and  in  different  countries: 
varieties,  that  show  a certain  latitude  of  proportions, 
within  whose  limits  success  in  the  result  may  reasona- 
bly be  expected.  I well  know  that  the  public  calls  fora 
book  on  dyeing,  wherein  the  author  will  confine  him- 
self to  one  process,  and  that  the  best  in  use.  But  who  is 
to  judge  of  that?  1 know  no  man  who,  as  yet,  has  suffi- 
cient pretensions  both  from  theory  and  experience  to 
decide.  All  the  receipts  I have  given,  are  the  receipts 
of  actual  practice.  Each  has  its  advocate,  who  is  of 
opinion  that  he  understands  his  business  as  well  as 
any  other  dyer  whatever;  and  each  succeeds.  I think 
therefore  I should  have  been  unjustifiable,  in  confining 
this  book  to  one  set  of  processes,  selected  by  myself, 
when  men  of  great  knowledge  and  experience  in 
business,  differ  on  each  process  from  each  other.  It  is 
a presumption,  I have  thought  it  right  to  avoid.  But, 
I have  read  enough,  and  seen  enough,  to  have  an 
opinion  of  my  own;  and  I shall  submit  that  to  the 
reader,  for  him  to  adopt  or  reject  as  he  sees  fit.  I have 
put  all  the  processes  for  dyeing  blue  together  (except 
in  an  extract  I shall  make  on  callicoe  printing,  by  and 
by)  because  I think  they  throw  great  light  on  each 
other;  and  he  who  means  to  understand  his  business, 
will  study  them  all. 

On  the  Blue  Dye  for  Woollens^  by  the  Editor.  It  ap- 
pears to  me,  that  the  common  vat  wherein  the  indigo 
is  deoxyded  by  means  of  madder  and  bran,  and  then 
dissolved  in  alkali,  is  the  best  for  the  woollen  dye. 
We  certainly  can  do  without  pastel  and  woad.  The 


80 


other  vats,  wherein  the  indigo  is  deprived  of  oxygen 
by  copperas,  are  best  adapted  to  the  callicoe  dyeing. 

I am  satisfied,  however,  that  lime  is  an  addition,  ab- 
solutely necessary  to  give  the  alkali  its  full  effect. 
Indigo  is  not  perfectly  soluble  in  carbonated  alkali, 
although  it  is  so  in  caustic  or  pure  alkali.  I am  satisfied 
also,  that  pearl  ash  is  one  fourth  less  in  value  for  the 
purpose,  weight  for  weight,  than  potash. 

Hence  my  proportions  for  a vat  of  whatever  size, 
are, 

Indigo,  ground  into  a fine  paste,  and  passed 
through  a fine  sieve,  by  weight,  one  part. 

Bran  one  part:  Madder  half  a part.  I'hese  two  in- 
gredients to  be  put  in  first,  having  been  pre- 
viously boiled  for  three  or  four  hours. 

Potash  one  part  and  a quarter. 

Lime  one  part. 

Bruise  the  potash  in  small  pieces,  then  add  the  lime, 
and  pour  on  hot  water,  two  gallons  to  the  pound  of 
potash.  Let  it  remain  covered  till  the  alkali  is  all  dis- 
solved, then  pour  it  into  the  vat,  sediment  and  all, 
after  the  bran  and  madder  are  put  in.  The  indigo 
should  be  put  in  last. 

I have  already  suggested  that,  in  my  opinion,  hay 
might  be  substituted  for  madder:  but  it  has  not  been 
tried.  Nor  has  the  effect  of  yeast,  been  sufficiently 
tried. 

For  callicoe  printers,  I think  the  potash  may  be  dis- 
pensed with,  and  that  a good  vat  may  be  well  made 
with 


81 


Indigo  one  part. 

Copperas  two  parts. 

Lime  two  parts  and  a half,  if  fresh  and  good. 

But  if  the  dyer  should  be  attached  to  his  potash, 
then 

Indigo  one  part. 

Potash  half  a part. 

Lime  two  parts. 

Copperas  two  parts. 

I do  not  disapprove  of  Gulich’s  addition  of  a little 
orpiment,  but  I have  not  known  it  tried. 

It  is  very  material  that  the  lime  should  be  fresh,  and 
put  in  with  the  copperas,  before  the  potash  is  put  in. 

The  copperas  vat  may  be  made  without  lime  by 
means  of  potash,  but  not  so  cheaply  or  so  well.  For 
the  sulphat  of  potash  formed  in  decomposing  the 
copperas,  is  made  at  greater  expense  than  the  sulphat 
of  lime. 

Pencil  Blue, 

Indigo  one  part. 

A clear  strong  ley,  drawn  from  potash,  one  part 
and  a quarter,  and  lime  one  part. 

Orpiment  two  thirds  of  a part. 

The  China  blue  for  dipping  in  alternate  vats,  is  suf- 
ficiently well  given  already. 

There  is  a vat  described  made  of  urine;  common 
enough  in  the  back  country,  but  although  it  be  appa- 
rently cheaper  than  a potash  vat,  I do  not  think  it  is 
really  so,  for  I suspect  some  of  the  indigo  is  wasted 

L 


82 


for  want  of  a sufficient  solvent  However,  as  all  the 
books  contain  an  account  of  such  a vat,  I shall  insert 
the  preparation;  protesting  against  the  use  of  it, 
wherever  wood  ashes  and  lime  can  be  procured,  as 
troublesome,  filthy,  and  wasteful  of  indigo;  but  it  has 
this  advantage,  it  does  not  spoil  by  age,  on  the  contrary 
it  improves. 

This  vat  may  be  set  either  with  hot  or  cold  urine. 
The  proportions  vary  according  to  the  shade  required, 
from  twenty  to  thirty  gallons  to  each  pound  of  indigo. 
The  indigo  is  to  be  ground  up  with  urine;  the  urine 
made  hot  and  scummed,  is  then  to  be  poured  on  the 
indigo  in  the  vat.  It  is  to  be  well  stirred  twice  a day; 
as  the  urine  ferments,  and  becomes  decomposed,  it 
acts  on  the  indigo,  which  becomes  dissolved  in  the 
urine:  this  usually  happens  in  eight  or  ten  days.  Some 
add  a quart  of  vinegar  for  each  pound  of  indigo  and 
some  alum  and  tartar  to  the  indigo,  but  I see  no  use 
in  the  one  addition  or  the  other:  but  the  vat  is  the 
better  for  four  ounces  of  madder,  and  as  much  bran 
to  each  pound  weight  of  indigo. 

The  Indigo  V at  with  Urine ^ according  to  Homassel. 
This  is  set  variously:  some  prepare  the  urine  in  a 
boiler,  before  they  turn  it  into  the  cask;  others  leave 
it  to  ferment  by  itself  at  leisure  in  the  cask  appro- 
priated for  a vat.  They  then  take  the  clear  part,  and 
heat  it  without  boiling,  and  scum  it.  Four  ounces  of 
good  indigo  are  used  to  a pipe  (tonne:)  and  as  much 
alum  as  indigo.  It  is  well  stirred  and  covered,  the  door 
of  the  fire-place  shut,  and  so  left  till  next  day,  when  it 
ought  to  put  on  the  green  colour.  If  it  has  not  come 


83 


to,  by  this  time,  put  in  a wine  glass  full  of  brandy  and 
as  much  vinegar  mixed  together,  which  operates  as  a 
ferment,  and  brings  on  the  liquor  in  seven  or  eight 
hours.  When  it  is  in  order,  it  is  left  to  rest,  and  used 
when  it  is  wanted.  When  once  in  order,  it  continues  so, 
and  improves  by  keeping;  the  only  difficulty  is  to  bring 
it  once  into  order,  and  it  is  valued  for  its  age.  When 
this  urine  vat  is  used,  it  is  well  warmed,  and  charged 
with  indigo  and  alum,  in  the  proportion  of  a pound  of 
each  to  every  thirty  pounds  of  wool  to  be  dyed.  It 
should  not  be  employed  till  twenty-four  hours  after 
it  is  in  order;  the  wool  is  plunged  in  and  worked 
under  the  liquor,  and  left  there  for  an  hour,  the  vat 
being  covered;  this  is  done  as  often  as  the  required 
shade  of  colour  calls  for  it.  The  vat  should  not  be 
altered,  but  always  left  to  rest,  and  to  grow  cold  in  its 
original  state. 

In  country  places,  the  girls  dye  blue  thus:  they  fill  a 
large  earthen  pot  with  scummed  urine,  in  which  they  put 
an  ounce  of  indigo  and  an  ounce  of  alum;  this  mixture 
is  heated  on  hot  embers  at  first,  and  warmed  whenever 
it  is  to  be  used.  The  wool  is  previously  well  scoured, 
and  freed  from  its  grease,  by  means  of  a weak  ley  of 
fresh  wood  ashes. 

Such  are  the  various  processes  for  dyeing  blue  with 
woad  and  with  indigo,  which  differ  from  each  other, 
because  every  work-shop  has  its  own  receipt,  and  no 
set  of  experiments  has  been  instituted  to  ascertain 
directly  and  accurately  the  best  proportion  of  ingre- 
dients: this  still  remains  a desideratum  of  great  conse- 
quence, though  it  would  cost  much  time,  trouble,  and 
expense. 


84 


Of  the  Saxon  Blue:  or  blue  produced  by  dissolving 
indigo  in  the  acid  of  vitriol  or  sulphur.  This  was  first 
discovered  by  counsellor  Barth  at  Grossenhayn  in 
Saxony,  about  the  year  1 748,  and  was  for  a long  time 
kept  secret.  It  is  chiefly  used  for  the  silk  dye,  but 
always  also  for  Saxon  blues  and  greens  on  woollen. 

For  IVoollen.  Let  the  cloth  macerate  in  a hot  solu- 
tion of  alum  and  tartar,  three  ounces  of  alum  and  one 
of  tartar  to  a pound  of  woollen;  this  is  usual,  but  I do 
not  consider  it  of  any  use;  for  the  indigo  seems  to  have 
no  affinity  for  these  mordants. 

Make  your  Saxon  blue  thus.  Purchase  oil  of  vitriol, 
colourless,  that  will  weigh  in  a Florence  flask  twenty- 
nine  ounces  and  a half  avoirdupois  to  the  wine  pint; 
or  it  should  be  to  water  in  weight  as  1,85  to  1.  The 
stronger  your  oil  of  vitriol,  the  better  will  be  the  so- 
lution. If  it  be  not  strong  and  colourless,  boil  it  in  a 
glass  vessel  in  a sand  bath,  till  it  becomes  so,  adding 
while  hot  by  degrees  about  four  or  five  grains  of  nitre 
to  each  pound  of  oil  of  vitriol:  the  acid  of  the  nitre 
is  gradually  decomposed,  and  carries  off  the  carbonic 
matter  that  discolours  the  oil  of  vitriol;  the  small  quan- 
tity of  alkali  remaining,  does  no  harm. 

Grind  very  fine  in  water,  the  indigo  meant  to  be 
employed;  wash  the  paste  through  a sieve;  boil  it  in 
water  containing  a small  quantity  of  alkali  to  dissolve 
all  the  dirty  and  extraneous  matter  that  the  indigo 
may  contain.  Wash  it  with  hot  water,  while  the 
indigo  continues  to  give  a dirty  tinge  to  the  water. 
Then  dry  it  perfectly,  but  not  in  too  great  a heat.  To 
six  pounds  of  oil  of  vitriol,  add  by  degrees  one  pound 


85 


of  such  indigo  well  ground  but  dry;  stirring  it  con- 
tinually with  a glass  stick  or  a hard-burnt  tobacco  pipe, 
and  not  with  wood;  it  should  be  made  in  a platina,  a 
glass,  a porcelain,  or  hard  burnt  stone- ware  vessel; 
taking  care  that  no  kind  of  dirt  gets  in.  The  indigo 
thus  dissolved  may  be  used  for  dyeing  in  the  propor- 
tion of  from  one  to  two  or  more  ounces  of  the  solution 
per  pound  of  cloth,  according  to  the  depth  of  colour 
required.  Keep  it  in  a glass  bottle,  with  a glass  stopper, 
for  use.  When  the  cloth  is  dyed,  it  should  be  rinced 
sufficiently  to  carry  away  all  superfluous  acid:  whether 
this  has  been  sufficiently  done  can  be  ascertained  by 
pressing  the  cloth  upon  a piece  of  paper  tinged  with 
blue  litmus,  or  archil,  which  if  any  acid  remain,  will 
be  turned  red.  This  colour  will  stand  the  air,  but  will 
not  stand  washing.  Some  people  add  pearl  ash  to  the 
solution,  but  I think  it  does  harm. 

Navy  Blue.  For  twenty  yards  of  fulled  cloth  use 
twenty  ounces  of  green  copperas  and  four  ounces  of 
blue  copperas.  Dissolve  these  in  a copper  by  them- 
selves. When  the  cloth  is  moistened  with  warm  water 
and  evenly  pressed  to  squeeze  out  the  superfluous 
moisture,  put  your  cloth  in  the  liquor  and  there  work 
it  about  occasionally  for  an  hour  and  a half:  take  it  out, 
let  it  drain  over  the  copper,  cool  it  over  the  folding 
board,  and  let  remain  for  twenty-four  hours.  The  blue 
copperas  is  often  omitted,  but  the  colour  is  the  better 
for  using  it. 

Boil  or  rather  scald,  for  at  least  three  hours,  six 
pounds  of  logwood  in  water,  so  as  to  make  a sufficient 
quantity  of  solution  to  work  your  cloth  in.  When  the 


86 


logwood  liquor  is  at  a full  scald  or  near  boiling,  enter 
your  cloth:  let  it  be  worked  three  quarters  of  an  hour: 
take  it  out;  drain  it;  cool  it  on  the  folding  board;  the 
colour  will  be  better  if  the  cloth  be  opened  and  aired 
well. 

Bring  your  copperas  liquor  to  a full  scald;  enter 
your  cloth  in  it,  let  it  stay  therein  three  quarters  of  an 
hour.  Drain  it;  cool  it;  enter  it  again  into  the  logwood 
liquor,  and  let  it  be  worked  therein,  till  you  obtain  the 
required  colour.  Drain,  cool,  air  it,  and  rince  it  well. 
Repeat  these  processes  if  necessary. 

This  is  a full,  cheap  colour;  but  it  will  not  stand  air, 
or  washing,  or  wearing,  like  the  indigo  or  woad 
colours. 

Some  dyers,  after  preparing  or  mordanting  the  cloth, 
dye  it,  not  in  a strong  bu^in  a weak  solution  of  log- 
wood, strengthened  by  additions  of  logwood  liquor 
after  each  dipping,  till  the  colour  is  obtained. 

The  cloth  should  be  kept  open  while  running  on 
the  w'inch  or  reel;  otherwise  the  colour  will  be  apt  to 
be  spotted:  if  cloth  lies  in  the  dye  pressed  by  its  own 
weight,  it  will  not  in  general  take  an  even  colour.  This 
remark  applies  to  almost  all  colours.  Nor  should  the 
cloth  rest  on  the  winch,  but  be  kept  in  motion,  par- 
ticularly for  half  a dozen  turns  at  first. 

Black.  The  processes  and  proportions  are  so  vari- 
ous, and  depend  so  much  on  the  local,  the  occasional, 
and  the  relative  dearness  and  cheapness  of  the  ma- 
terials, that  one  process  may  be  expedient  at  one  time 
and  place,  and  another  at  another.  One  process  may 
be  good  in  England,  another  in  France,  another  in 


87 


America.  One  process  may  be  good  in  time  of  peace, 
another  in  time  of  war.  One  may  be  eligible  in  a sea- 
port town,  another  in  the  country. 

For  instance;  during  the  late  war,  the  English  dyers 
could  afford  to  give  a blue  ground  to  their  blacks, 
when  the  French  could  hardly  do  it;  for  indigo  was 
plenty  in  England  and  not  in  France.  To  be  sure  they 
used  their  pastel  and  woad  vats,  because  they  grow 
the  drug  in  their  own  country,  and  so  might  we. 

In  Pennsylvania,  a back  country  dyer  could  procure 
his  own  alder  bark,  walnut  bark,  or  sumach,  when  a 
sea-port  dyer  could  obtain  none  imported;  and  so  on. 

I shall  proceed  therefore  to  give  the  various  pro- 
cesses of  the  French  and  English  dyers,  whether  for 
fine  or  coarse  goods. 

Fine  goods  are  universally  first  dyed  blue,  either 
with  woad  or  indigo;  of  course  they  require  less  of  the 
other  colouring  ingredients. 

Hdlot's  process  is  this.  The  cloth  being  dyed  blue, 
take  eighteen  pounds  (eight  kilogrammes)  ef  logwood, 
and  as  much  powdered  nut  galls,  for  each  hundred 
weight  of  112  pounds  of  cloth;  (fifty  kilogrammes.) 
The  ground  or  chipped  logwood,  and  bruised  galls, 
should  be  put  in  bags,  and  boiled  in  a sufficient  quan- 
tity of  water  for  twelve  hours. 

Lade  out  into  another  boiler,  one  third  of  this  liquor, 
with  one  kilogramme  or  about  two  pounds  and  a 
quarter  avoirdupois  of  verdigris:  scald  the  cloth  in 
this  during  two  hours;  it  must  not  boil;  it  must  be 
winced  or  reeled  all  the  time.  Take  the  cloth  out;  drain 
it;  cool  it  on  the  folding  board. 


) 


88 


To  the  liquor  add  one  other  third  of  the  decoction 
of  logwood  and  galls;  also  four  kilogrammes  or  about 
nine  pounds  of  green  copperas:  lower  the  heat,  let  the 
copperas  dissolve,  and  in  about  half  an  hour  after-  | 
wards  again  enter  the  cloth,  which  must  be  well  ^ 
winced  therein  for  at  least  one  hour;  take  out  the  cloth; 
drain  it;  cool  it  on  the  folding  board,  (and  air  it.  T.  C.) 

Press  well  the  bags  in  the  first  boiler;  team  out  the 
last  third  of  the  decoction  out  of  the  first,  into  the  se- 
cond boiler;  add  about  twenty  pounds  of  sumach; 
bring  the  liquor  to  a boiling  heal  for  a quarter  of  an 
hour;  throw  in  about  two  pounds  and  a quarter  of 
green  copperas;  when  dissolved,  let  the  liquor  cool  a 
little;  again  enter  the  cloth,  and  wince  it  therein  for  at 
least  an  hour;  drain  it;  cool  it  on  the  folding- board; 
rince  it  in  clear  water;  air  it. 

Bring  it  again  to  the  boiler,  at  a heat  a little  short  of 
a scald;  wince  it  therein  a full  hour;  drain,  cool,  air  it, 
wash  it  well  in  the  river  or  stream,  full  it  till  the  W'ater 
comes  off  quite  clear. 

Prepare  a dye  liquor  of  weld,  which  should  only  be 
permitted  to  boil  for  a few  minutes;  cool  it  with  cold 
water;  enter  the  cloth  for  an  hour;  drain,  cool,  wash, 
air,  &c.  as  before. 

On  this  process  of  Hellot’s,  (which  I translate  from 
Berthollet,  because  the  English  book  purporting  to  be 
Hellot’s  art  of  dyeing,  is  often  extremely  incorrect) 

I would  observe,  that  if  the  cloth  be  dyed  a good  blue 
first,  the  proportion  of  ingredients  are  rather  large;  it 
seems  to  me  they  may  be  diminished  nearly  one 
fourth;  secondly,  I think  that  much  advantage  is  to  be 


89 


found  in  airing  the  goods  well  between  each  dipping, 
for  the  black  is  never  perfect^  or  insoluble  in  water,  till 
it  be  well  exposed  to  the  air;  thirdly,  I fully  agree  with 
Lewis  and  Berthollet,  that  the  last  working  in  weld 
liquor,  is  totally  unnecessary;  fourthly,  I think  the  pro- 
portion of  logwood  might  be  a little  increased  at  the 
expense  of  the  other  ingredients;  for  the  soft  and 
velvety  lustre  depends  more  on  the  logwood,  than  on 
the  galls  and  sumach,  although  these  last  alFord  a much 
more  permanent  dye;  fifthly,  I think  the  last  working 
should  be  in  the  liquor,  with  a small  quantity  of  Galli- 
poli oil,  to  give  the  soft  feel  to  the  cloth,  which  is  so 
great  a recommendation;  always  premising,  an  effec- 
tual scouring.  T.  C. 

Hellot  found  also  that  a good  black  might  be  produced 
thus: 

For  eighteen  metres,  or  about  twenty  yards  of  fulled 
cloth,  dyed  blue,  take  about  two  pounds  of  fustic,  two 
and  a half  pounds  of  logwood,  and  eleven  pounds  of 
sumach.  Boil  them  for  two  or  three  hours.  Enter  the 
cloth  at  a full  scald  and  work  it  for  three  hours;  raise 
the  cloth;  drain  it;  throw  in  eleven  pounds  of  green 
copperas;  let  it  dissolve;  enter  it  again;  work  it  for  two 
hours;  drain  it;  cool  it  on  the  fold-board;  air  it  well; 
return  it  into  the  boiler  with  the  woods  and  copperas; 
work  it  for  an  hour;  drain,  cool,  air,  wash  it.  It  is  full  as 
permanent,  but  not  so  velvety  a black  as  the  preceding. 
(For  the  reasons  I have  assigned  above.  T.  C.) 

Another  process,  for  cheap  cloths.  Omit  the  blue 
ground;  give  them  in  lieu  of  it  a ground  of  walnut 
peel,  or  walnut  rind  (brou  de  noix;)  then  give  a black 

M. 


90 


with  logwood,  and  sumach  as  the  dye  woods,  and 
green  copperas  as  the  mordant.  (I  am  fully  persuaded 
of  the  use  whether  in  high  priced  or  cheap  cloths,  of 
a small  proportion  of  verdigris:  and  I am  strongly  in-  ^ 
dined  to  believe,  that  Aleppo  galls  are  a cheap  article 
in  fact,  though  seemingly  dear,  from  the  experiment 
stated  in  the  section  on  mordants.  T.  C.) 

HomasseVs  process.  For  each  hundred  pounds  of 
wool,  put  into  a boiler,  ten  pounds  logwood,  as  much 
sumach,  one  [botte,  I do  not  know  exactly  the  quan- 
tity, I conjecture  from  circumstances  eight  or  ten 
pounds)  of  alder  bark,  well  ground;  and  a pound  of 
bruised  blue  galls.  If  the  wool  be  strong  enough  to 
bear  it,  you  may  put  it  in  the  boiler  with  all  the  woods, 
and  boil  the  whole  for  four  hours,  stirring  them  fre- 
quently with  a rounded  stick  or  bar  of  wood.  Woollen 
yarn  should  be  made  up  in  parcels  of  about  two 
pounds  each.  At  this  first  operation,  the  wool  should 
acquire  the  colour  of  walnut  peel,  or  of  scorched 
paper.  Take  the  hanks  of  wool  out;  hang  them  up  to 
drain  over  the  copper;  squeeze  them;  open  them  to 
air;  empty  the  wood  and  dregs  out  of  the  boiler  by 
means  of  a copper  cullender;  fill  up  the  boiler  with 
water  sufficient  to  work  the  wool.  Throw  in  five 
pounds  of  green  copperas;  increase  the  fire,  but  there 
must  be  no  boiling-heat;  sweep  off  the  sediment  round 
the  boiler;  stir  the  liquor;  enter  the  wool  again  as  at 
first  by  means  of  a stick  through  the  loops;  work  the 
separate  parcels  thus  for  at  least  an  hour  and  a half; 
take  them  out,  drain,  cool,  air  them  as  before;  the 
more  patience  in  opening  them  to  the  air,  the  deeper. 


I 


91 


the  more  permanent,  and  the  fuller  will  the  black 
strike:  keep  the  boiler  still  hot;  again  enter  the  goods 
with  three  pounds  more  of  copperas;  go  through  the 
same  process  as  at  the  last  mentioned  or  second  im- 
mersion, giving  the  cloth  now  a second  airing;  before 
the  copperas  was  put  in,  no  airing  was  necessary.  Dye, 
drain,  cool,  open,  air  again;  being  three  immersions  or 
dyeings  after  the  copperas,  and  four  in  all.  No  airing 
is  necessary  till  the  copperas  be  used. 

Now  put  in  two  pounds  more  of  copperas;  and  one 
pound  of  tallow,  lard,  or  some  fat  oil;  (Gallipoli  is  the 
best  T.  C.)  when  the  copperas  is  dissolved  and  the 
fat  melted,  enter  the  goods  and  proceed  as  in  the  last 
process  to  dye  them,  but  let  them  stay  in  the  copper 
all  night,  before  you  open  them  and  air  them.  The  fat 
prevents  the  copperas  from  drying  the  goods,  and 
makes  them  soft  to  the  touch. 

Dyers  by  profession,  dye  in  the  same  boiler,  their 
silk  and  their  wool;  in  which  case  they  do  not  use  the 
fat  at  the  fourth  immersion;  but  instead  of  it  refresh 
the  liquor  with  some  logwood,  sumach  and  alder  bark, 
and  they  give  five  or  six  airings.  Other  dyers  are  con- 
tented to  dye  their  blacks  at  twice  in  ten  days,  and 
keep  their  silks  after  the  first  wool- black,  till  they  give 
them  another;  in  this  manner  the  silks  and  the  wool 
too  are  better  dyed.  The  fat  can  be  used  for  the  wool, 
after  the  silks  are  finished. 

Odk  balls,  acorns,  oak  saw-dust,  and  tan,  were  pro- 
hibited by  Colbert;  but  they  are  of  great  use  in  dyeing 
linen  and  flax;  and  any  harshness  they  may  be  sup- 
posed to  give,  may  be  counteracted  by  tallow  or  fat. 


92 


If  when  you  use  the  same  quantity  of  logwood,  su- 
mach, and  alder  bark,  you  employ  about  six  per  cent, 
of  oak  balls,  or  the  bark  of  acorns,  the  silks  will  require 
but  one  galling  or  preparation  in  the  woods  previous 
to  the  copperas,  and  four  or  five  airings  after  the  cop- 
peras; then  when  the  silks  are  done,  the  woollens  may 
receive  another  dipping  with  fat  or  oil. 

A black  dyer  on  woollen  should  have  a new  hat  be- 
fore him  as  a pattern  of  colour.  (Then  he  ought  to  em- 
ploy verdigris  with  his  copperas,  or  he  will  never  come 
up  to  the  hat  dye.  The  hat  dye  is  as  follows: 

For  twenty  or  four  and  twenty  dozen,  boil,  or  rather 
keep  at  a full  scald,  one  hundred  pounds  of  logwood, 
twelve  pounds  of  galls,  twelve  pounds  of  gum,  ten 
pounds  of  green  copperas  and  six  pounds  of  verdigris. 
Ten  or  twelve  dozen  are  dyed  first,  they  are  kept  in 
the  dye  an  hour  and  a half:  they  are  then  taken  out 
and  well  aired;  this  is  repeated  four  times,  the  ex- 
posure to  the  air  being  never  omitted  or  slighted; 
then  the  bath  is  refreshed  with  a small  quantity  of  the 
drugs  in  like  proportion,  and  the  hats  are  again  dyed, 
cooled,  and  aired  twice  more;  the  dye  is  again  refresh- 
ed in  like  manner,  and  the  hats  dyed,  cooled  and 
aired  twice  more;  in  all  eight  times.  Sometimes  su- 
mach and  alder  bark  are  substituted  for  part  of  the 
galls:  all  this  depends  upon  their  comparative  price, 
for  when  galls  are  cheap,  they  are  clearly  the  best  in- 
gredient. There  is  no  process  for  dyeing  woollen  so 
good  as  this  in  my  opinion,  except  that  the  gum, 
though  necessary  to  hats,  is  unnecessary  to  woollens. 
The  superiority  in  the  colour  of  hats  to  that  of  wool- 

< 


93 


len  cloth,  is  owing  first  to  the  superior  quantity  of 
verdigris;  secondly  to  the  more  frequent  dippings  and 
airings.  T.  C.) 

The  black  liquor  will  serve  for  all  kinds  of  grays. 
The  colour  called  Boue  de  Paris,  (a  kind  of  mud 
colour)  is  dyed  by  first  giving  a ground  with  soot, 
and  then  a dipping  in  the  black  dye  after  the  woollens 
are  dyed.  Every  variety  of  gray,  can  be  well  dyed 
with  an  old  or  spent  liquor  of  black,  another  of  soot, 
and  another  of  archil. 

The  black  bath  or  liquor,  will  have  done  its  duty 
when  it  serves  after  black  for  the  sandal  wood  browns; 
indeed  all  browns  may  be  finished  in  the  old  black 
liquor:  so  may  the  Saxon  greens  meant  to  be  turned 
into  bottle  greens. 

At  the  Gobelins,  all  blacks  are  forbidden,  because 
they  acquire  a rusty  colour.  (There  is  no  good  reason 
for  this,  if  the  colours  intended  for  tapestry  are  blued 
first.  T.  C.) 

On  this  process  of  Homassel,  I have  to  observe, 
first,  that  the  colour  is  not  and  cannot  be  so  good  as 
those  that  are  dyed  upon  a blue  ground.  Secondly, 
that  his  frequent  and  perfect  airings  after  the  copperas, 
though  taking  up  time,  are  not  merely  judicious,  but 
absolutely  essential  to  make  the  colour  strike  deep, 
to  prevent  its  being  washed  away,  and  to  produce  a 
full  black.  The  gallo-tannat  of  iron  is  colourless  in 
solution  till  it  be  oxygenated.  Common  ink  is  so. 
Thirdly,  the  employment  of  a small  quantity  of  verdi- 
gris would  certainly  improve  the  process.  Fourthly, 
the  proportions  of  ingredients  might  be  beneficially 
augmented  one  fourth.  T.  C. 


94 


The  process  for  dyeing  blacky  of  Mr.  Haigh  of  Leeds. 
Fill  a vessel  sufficiently  large  with  soft  water,  and  for 
every  hundred  weight  of  cloth,  put  in  thirty  pounds 
of  logwood  chips;  with  half  a pail  of  elder  (he  means 
alder)  bark,  and  six  pounds  of  sumach;  boil  tffi  se  in- 
gredients together  for  half  an  hour  (two  hours  are 
little  enough,  T.  C.)  when  the  cloth  may  be  entered 
(the  copper  being  first  cooled  by  the  addition  of  cold 
water)  and  boiled  an  hour  and  a half,  being  constantly 
turned  on  the  winch  to  prevent  an  unevenness  of  dye. 
This  operation  being  ended,  which  is  called  a pre- 
paration, or  stuffing  the  blacks,  (the  engallage  of  ttie 
French,  T.  C.),  I shall  proceed  to  the  finishing. 

A small  tub  is  to  be  placed  by  the  side  of  the  cop- 
per, out  of  which  it  must  be  filled  with  hot  liquor;  in 
which  put  ten  or  fourteen  pounds  of  copperas  to  dis- 
solve; the  cloth  is  then  kept  turning  whilst  a man  with 
a piggin  is  lading  the  copperas  liquor  into  the  copper; 
the  cloth  is  turned  here  at  a boiling  heat,  one  hour, 
(too  short  a time,  T.  C.)  then  taken  out,  and  cooled 
well  in  all  parts  alike.  When  thoroughly  cold,  return 
it  into  the  copper,  with  two  handfuls  of  copperas,  and 
boil  it  gently  as  before  for  two  hours,  then  cool  it 
again,  (It  should  be  well  aired.  T.  C.)  While  the  se- 
cond cooling  is  going  on,  six  pounds  of  logwood,  ten 
pounds  of  bark  (that  is  I presume  alder  bark,  T.  C.) 
and  two  pounds  of  argill  (I  presume  argol  or  tartar,  T. 
C.)  with  ten  pounds  of  soda  or  common  ashes,  and 
three  pounds  of  copperas,  must  be  put  to  the  liquor; 
these  ingredients  must  be  made  to  boil  one  hour, 
when  the  goods  must  be  turned  and  worked  one  hour. 


95 


Keep  the  winch  perpetually  turning;  always  observing 
that  the  small  portion  of  air  which  the  goods  receive 
by  turning  on  the  winch,  contributes  much  to  the 
beauty  of  the  colour.  (Hence  the  propriety  of  giving 
the  goods  a thorough  airing,  after  each  dyeing  in  liquor 
containing  copperas.  T.  C.)  Some  dyers  instead  of 
ashes,  use  chamberley,  but  this  is  a bad  custom.  If 
they  would  become  good  black  dyers,  they  must  aban- 
don their  old  practice,  and  by  mixing  their  natural 
genius  with  reason  and  good  sense,  they  will  soon  find 
by  experience  that  the  acid  of  the  argill  (argol  or  tar- 
tar) acts  only  on  the  vitriolic  acid  of  the  copperas,  and 
prevents  a brown  or  rusty  hue  that  will  unavoidably 
proceed  from  the  logwood;  the  alkaline  power  of  the 
ashes,  at  the  same  time,  forces  it  to  assume  its  natural 
violet  colour;  that  is,  if  a too  great  quantity  of  logwood 
is  not  used,  which  would  certainly  prejudice  the  co- 
lour; and  this  rule  carefully  observed,  the  black  would 
resemble  a raven’s  feather:  they  must  be  well  washed 
at  the  fulling-mill.  (All  this  reasoning  is  at  best  ex- 
tremely dubious.  I give  no  credit  at  present  either  to 
the  use  of  argol,  ashes,  or  chamberley;  but  experi- 
ments are  wanting.  T.  C.) 

I shall  not  entertain  the  reader  with  a tedious  re- 
cital of  the  manner  of  treating  those  goods  whose  su- 
perior quality  renders  it  needful  that  they  should  be 
previously  dyed  blue.  It  is  sufficient  to  know,  that 
they  must  have  a less  proportion  of  ingredients,  though 
the  operation  is  the  same  as  that  of  the  common  black. 

When  fine  cloth  is  to  be  dyed  black,  great  care 
must  be  taken  not  to  let  it  hang  on  the  winch  one 


96 


minute;  it  must  be  thrown  off  the  instant  the  last  comes 
up;  otherwise  its  own  weight  when  wet  and  hot,  would 
fill  it  with  wrinkles  that  would  never  remove.  The 
same  caution  must  be  taken  when  the  eloth  is  on  the 
floor,  to  draw  it  between  two  men  over  a long  stick 
by  the  lists;  each  taking  hold  of  one  end  with  their 
left  hand,  to  be  continued  till  eold  before  it  be  re- 
turned. 

(On  this  process  of  Mr.  Haigh,  I would  remark, 
that  1 am  not  persuaded  of  the  use  of  the  alkaline 
liquors;  they  make  the  colour  of  the  drugs  more  fugi- 
tive, and  they  certainly  precipitate  the  copperas.  Nor 
can  a good  logwood  black  be  dyed  at  all,  without 
verdigris  or  blue  vitriol.  T.  C.) 

A process  for  blacky  by  Asa  Ellis  of  Brookfield, 
Massachusetts.  For  twenty  pounds  of  fulled  cloth, 
take  one  bushel  of  yellow  oak  bark;  (I  presume  he 
means  the  bark  of  the  black  oak,  which  dyes  yellow, 
T.  C.)  or  if  that  cannot  be  obtained,  an  equal  quantity 
of  walnut  bark.  Boil  it  four  or  five  hours.  Then  take 
out  the  bark  and  add  two  pounds  of  good  copperas; 
let  it  dissolve;  then  dip  the  cloth  for  half  an  hour;  cool 
and  repeat  three  or  four  times;  the  cloth  will  then  ap- 
pear of  a heavy  or  dead  olive  colour;  rince  the  cloth 
well;  air  it;  fill  the  copper  two  thirds  with  boiling 
water,  and  add  strong  logwood  liquor  by  a pail  full  at 
a time,  until  by  repeated  dippings  your  cloth  has 
acquired  a good  colour.  Then  rince  the  cloth  for 
dressing. 

This  will  do  for  dyeing  silk.  (The  essential  point 
of  airing  the  cloth  is  omitted.  There  should  also  be 
four  ounces  of  verdigris  or  blue  vitriol.  T.  C.) 


97 


I Another  American  process.  Use  six  ounces  of  log- 
wood,  as  much  sumach,  and  two  ounces  of  fustic  for 
j each  pound  of  woollen;  boil  these  drugs  for  a couple 
I of  hours;  then  put  in  a little  chamberley,  which  throws 
the  sumach  to  the  top;  scum  it  off,  and  throw  it  into 
a tub  with  some  water,  which  may  be  used  to  fill  ikp 
' the  copper.  Enter  your  woollen,  and  wince  it  for  a 
I couple  of  hours;  then  put  in  per  pound  of  woollen, 
three  ounces  and  a half  of  green  copperas,  and  half  an 
ounce  of  blue  copperas;  re-enter  your  woollen;  work 
it  in  this  liquor  for  an  hour,  rather  under  a boiling 
heat;  take  out  the  woollen;  cool  it;  open  it;  air  it  well; 
repeat  this  two  or  three  times  more;  then  drain,  cool, 
air,  and  wash  your  woollen. 

(This  is  a good  receipt,  excluding  the  chamberley, 
which  injures  the  fastness  of  the  colour,  as  I think. 
T.  C.) 

Another.  Dye  your  fine  cloth  a blue  ground.  For 
each  pound  of  cloth  use  one  third  of  a pound  of  log- 
wood, the  same  quantity  of  sumach,  one  eighth  of  a 
pound  of  black  oak  bark,  as  much  madder,  and  one 
sixteenth  of  a pound  of  Aleppo  galls.  Boil  these  in- 
gredients  for  two  hours  at  the  least,  then  strain  the 
liquor;  cool  it  below  a boiling  heat;  enter  your  cloth, 
and  wince  it  well  in  this  liquor  at  a scalding  heat  for 
two  hours;  you  need  not  air  it  yet;  only  drain  and 
cool  it. 

Then,  add  to  the  liquor  three  ounces  for  each 
pound  of  woollen  cloth,  of  green  copperas,  and  half  an 
ounce  of  verdigris;  let  them  dissolve  in  the  liquor, 
and  again  enter  your  cloth  at  a scalding  heat  but  not 

N 


98 


more;  wince  it  therein  for  one  hour;  take  it  out;  drain 
and  press  it  to  get  out  the  superfluous  liquor;  open  it; 
air  it  for  a full  hour;  enter  it  again,  and  do  the  same; 
when  cooled  and  aired,  throw  into  the  liquor,  for  each 
pound  of  woollen,  half  an  ounce  of  green  copperas, 
and  the  eighth  of  an  ounce  of  verdigris;  bring  the 
liquor  to  a scald;  work  the  goods  for  an  hour  as  be- 
fore; drain,  cool,  open  and  air  them;  repeat  if  neces- 
sary. Now  put  into  the  liquor  about  a gallon  of  Galli- 
poli oil  for  about  a hundred  and  twenty  pounds  weight 
of  cloth;  enter  the  cloth  at  a scald;  wince  it  for  an 
hour;  take  it  out,  drain,  open,  air  and  full  it.  If  the 
colour  be  not  good  at  four  dippings,  give  it  another, 
before  the  oil  is  used. 

I regard  this  as  the  best  of  the  receipts  for  pro- 
ducing a good  black,  except  the  common  hatter’s  dye 
which  is  similar  to  it.  T.  C. 

Common  blacks  for  coarse  goods  may  be  prepared 
with  sumach  and  fustic,  or  with  sumach  and  oak 
bark,  or  sumach  and  alder  bark,  or  sumach  and  wal- 
nut peel,  or  sumach  and  walnut  bark;  boiling  the 
drugs  for  two  hours  at  least;  then  enter  the  goods  into 
the  bath  or  liquor  at  a scalding  heat,  wincing  them 
for  two  hours;  then  drain  and  cool  the  woollen;  then 
put  in  green  copperas  and  wince  the  goods  for  an  hour 
in  the  bath  or  liquor  so  prepared;  then  drain,  open 
and  air  them;  then  run  them  through  the  liquor  again 
in  the  same  manner,  and  repeat  the  process  a third 
time;  airing  them  well  always  after  copperas;  then 
blacken  them  in  the  old  liquor  of  a black-dye  bath, 
adding  a pail  full  of  logwood  and  a little  blue  vitriol. 


99 


i In  this  way  all  the  old  liquors  or  baths  may  be  used 
! up,  and  nothing  lost.  T,  C. 

In  fulling  fine  cloths  after  they  are  dyed,  a little 
soap  in  the  water  is  of  service,  to  take  out  not  only 
superfluous  colour,  but  superfluous  oil.  The  cloth 
must  be  fulled  till  the  water  comes  away  perfectly 
clear. 

Good  cloths,  will  require  not  less  than  one  prepara- 
tion; three  separate  dippings  and  airings  at  least  after 
the  copperas  is  put  in;  and  then  a fourth  with  the 
oil.  r.  a 

In  the  black  dye,  the  sumach,  bark  and  galls  with 
the  copperas,  give  the  permanent  black,  but  it  is  of  a 
brownish  hue;  the  logwood  gives  the  lustre  and  velvety 
appearance;  the  verdigris  or  blue  vitriol  (verdigris  is 
best)  gives  the  6/we-black;  and  the  oil  or  fat,  gives  the 
softness  to  the  touch,  for  which  fine  cloths  are  distin- 
guished. T.  C. 

The  black  dye  for  woollens,  will  answer  for  silks, 
except  that  they  require  the  bath  to  be  somewhat 
stronger,  the  heat  to  be  less,  and  no  oik  T.  C. 

I have  tried  repeatedly  to  give  a brilliant  blue  tint 
to  fine  blacks  by  means  of  prussiat  of  potash,  and  have 
succeeded;  but  not  I think  in  point  of  expense.  T.  C. 

Of  Gray  colours  on  Woollen.  The  ground  work  of 
all  grays,  is  the  black  dye:  a diluted  black,  is  a simple 
gray.  The  black  dye  is  ink;  when  diluted,  it  produces 
gray  colours  of  a tinge  more  or  less  deep,  in  propor- 
tion as  the  bath  is  less  or  more  diluted,  and  as  the  cloth 
is  permitted  to  remain  a longer  or  shorter  time. 

Mere  astringents,  such  as  galls,  sumach,  alder  bark, 


100 


white  oak  bark,  give  brownish  grays  with  copperas; 
quercitron  gives  a gray  with  an  olive  tinge;  logwood 
and  copperas  give  a gray  of  another  tinge;  with  a 
small  quantity  of  verdigris  or  blue  vitriol,  it  gives  a 
blue  tint;  all  these  tints  may  be  varied  into  drabs, 
olives,  browns,  and  chocolates,  by  the  yellow  dye 
drugs  and  madder. 

Before  I give  the  processes  for  gray  colours,  I must 
present  the  reader  with  Homassel’s  mordant  for  fast 
and  bright  colours  of  this  description,  which  I know 
by  experience  to  be  deserving  of  the  recommendation 
he  gives  it,  but  it  is  expensive. 

Take  of  nitric  acid  and  dilute  it  with  an  equal 
weight  of  water;  put  in  it  two  ounces  of  filings  of  steel 
(iron  is  as  good.  T.  C.)  and  let  the  steel  dissolve  for 
two  days:  it  will  then  be  ready  for  use:  the  residuum 
exposed  to  a strong  heat  in  an  open  crucible  will  make 
the  English  crocus  martis. 

This  process  is  very  unscientific.  Steel  is  not  so 
good  as  iron;  nor  will  two  ounces  saturate  a pound  of 
nitric  acid.  The  solution  should  be  thus  made: 

Put  into  the  nitric  acid  thus  diluted,  by  a small 
quantity  at  a time,  as  much  malleable  iron  as  it  will  dis- 
solve; after  letting  it  stand  for  twenty-four  hours,  de- 
cant it  into  another  bottle  for  use.  Keep  it  close  stopt 
from  the  air.  This  solution  makes  brighter  colours  and 
faster  colours  than  green  copperas,  that  is  sulphat  of 
iron;  but  the  preparation  is  dearer.  T.  C. 

This  is  used  with  galls,  with  madder,  with  cochi- 
neal,  and  wherever  a gray  is  meant  to  predominate. 

Common  Gray;  is  the  black  dye  diluted;  or  a bath 
of  galls,  after  nitrat  of  iron. 


101 


Raven  Gray.  Copperas  with  one  fourth  of  alum; 
then  logwood  liquor;  repeated  alternate  dippings,  first 
in  one,  then  in  the  other. 

Mud  Gray.  Boil  some  soot  in  water,  and  ground  the 
i cloth  with  it:  then  enter  it  in  a dilute  black  dye. 

I Pearl  Gray.  In  a diluted  black  dye  mix  some  ar- 
i chil.  (Orseille,  well, known  to  the  silk  dyers.) 
j Another.  Pearl  gray  is  a light  brown  bearing  on  a 
blue.  It  appears  to  have  passed  but  a small  change 
from  the  white.  Particular  care  must  be  taken  that  all 
the  utensils  are  clean.  Boil  the  water  and  add  to  it  for 
twenty  yards  of  fulled  cloth,  one  tea-spoonful  of  nut 
galls  powdered  and  sifted;  boil  them  for  half  an  hour. 
Then  enter  the  cloth  moistened  with  hot  water,  and 
wince  it  for  half  an  hour.  Take  it  out  and  cool  it;  add 
to  the  liquor  another  tea-spoonful  of  nut  galls;  dip  and 
cool  the  cloth  as  before;  again  put  in  the  same  quantity 
of  nut  galls,  and  dip  and  cool  a third  time. 

Now  add  to  the  liquor,  a piece  of  green  copperas 
about  the  size  of  a small  nutmeg,  and  a piece  of  alum 
about  the  size  of  a walnut,  and  when  these  are  dis- 
solved, a small  tea-spoonful  of  the  solution  of  indigo 
in  oil  of  vitriol;  then  dip  your  cloth  as  before;  do  so 
again,  adding  another  small  tea-spoonful  of  the  same 
solution;  and  again  without  any  addition.  If  your  cloth 
lacks  any  thing  of  the  required  tint,  add  of  the  ingre- 
dients in  very  small  quantities,  as  you  see  fit.  (In  sub- 
stance from  Asa  Ellis.)  This  is  a good  receipt.  T.  C. 

Another.  (Haigh  of  Leeds.)  For  pearl  colour  or  sil- 
ver gray,  to  dye  forty  pounds  of  woollen  cloth  or 
worsted,  boil  in  a small  copper  four  pounds  of  log- 


102 


wood  chips  for  half  an  hour:  add  to  it  six  ounces  of 
pearl  ash,'  and  mix  them  well  together.  While^^l^iis  is 
performing,  (having  the  worsted  well  scoured  and 
parcelled  in  hanks  on  the  dye-sticks)  heat  a great 
copper  with  clean  water,  and  put  one  peck  of  wheat 
bran  in  a bag  into  the  copper;  let  it  remain  about  an 
hour,  often  stirring  it;  when  the  water  begins  to  boil, 
put  in  three  ounces  of  alum  which  wdll  throw  the  filth 
of  the  water  to  the  top,  when  it  must  be  scummed.off 
with  the  bowl.  Wash  the  worsted  in  this  liquor  about 
forty  minutes,  when  it  must  be  taken  out,  and  three  or 
four  pails  of  the  logwood  liquor  added  to  the  alum 
water.  The  goods  must  then  be  worked  very  quick 
for  forty  minutes,  when  you  may  add  more  logw'ood 
liquor  if  you  see  occasion.  Great  care  must  be  taken 
after  washing,  to  dry  this  colour  in  the  shade,  or  it 
will  perhaps  change. 

Some  dye  this  colour  in  one  liquor,  and  boil  the 
logwood  in  a bag.  This  process  is  less  tedious,  but  I 
prefer  the  former.  It  will  be  well  for  the  dyer  to  take 
notice,  that  if  too  great  a quantity  of  alum  or  ashes 
are  used,  the  colour  will  be  imperfect,  for  the  alum  if 
used  in  a right  proportion  gives  that  bloom  to  the 
goods  which  is  necessary  for  a pearl.  If  too  much,  the 
contrary  wmuld  happen.  The  ashes  also  used  in  too 
great  quantity,  would  make  the  colour  too  red;  this 
may  seem  a contradiction,  but  practice  will  confirm 
my  remark. 

(Of  these  receipts,  which  are  very  different  in  their 
composition,  I prefer  Mr.  Asa  Ellis’s.  T.  C.) 

Mouse  jGray.  Soot;  then  logwood  with  alum  and 
copperas. 


I 


103 


Roach  Gray.  Logwood,  copperas  and  alum. 

Slate  Gray.  Logwood,  green  copperas,  and  blue 
copperas. 

Cinder  Gray.  Soot;  logwood,  alum  and  copperas. 

Greenish  Gray.  Diluted  black  dye  with  soot;  or 
black  dye  and  fustic. 

It  would  be  well  for  a dyer  (says  Homassel)  to  bear 
in  mind,  that  all  the  colours  imaginable,  are  formed 
out  of  blue,  red  and  yellow;  that  black  with  logwood, 
is  frequently  a substitute  for  blue;  that  no  gray  can  be 
produced  without  copperas  or  a solution  of  iron;  that 
all  gray  colours  are  decidedly  the  better  for  a slight 
previous  ground  of  common  soot;  that  colours  are 
faster  and  brighter  for  a previous  ground  or  prepara- 
tion, without  which  they  will  look  faded,  meagre, 
hungry. 

For  expensive  cloths,  and  delicate  colours,  in  which 
gray  is  meant  to  predominate,  the  nitrat  of  iron,  that 
is,  iron  dissolved  in  aqua  fortis,  is  much  superior  to 
the  sulphat  of  iron,  or  green  copperas:  but  it  is  too 
expensive  for  common  work. 

Process  for  dyeing  Scarlet  on  Woollen;  and  first  of 
the  composition.  The  French  scarlets,  like  the  French 
blacks,  have  usually  carried  away  the  palm  of  su- 
periority. But  every  dyer  has  his  own  recipe  for  scar- 
let.  I have  seen  and  observed  the  process  at  Messrs. 
Godwin’s  and  Co.  in  London,  where  Dr.  Bancroft 
made  his  ineffecjtual  experiments,  and  after  giving  the 
common  processes,  I shall  make  my  own  remarks. 

Hellofs  process  for  the  composition.  This  is  copied 
in  the  dyer’s  assistant,  by  James  Haigh  of  Leeds. 


104 


As  it  is  this  composition  which  gives  a fine  bright 
fire  colour  to  the  cochineal,  which  without  the  addi- 
tion of  this  acid  solution  would  be  crimson,  I shall 
from  my  own  experience  (Hellot’s)  give  the  best  me- 
thod of  making  this  composition. 

I take  eight  ounces  of  spirit  of  nitre,  and  weaken  it 
by  adding  an  equal  quantity  of  river  water.  I then  dis- 
solve by  degrees,  half  an  ounce  of  sal  ammoniac,  very 
white,  in  order  to  make  an  aqua  regis;  for  it  is  well 
known  that  spirit  of  nitre  alone,  is  not  a proper  men- 
struum for  tin.  Lastly  I add  only  two  drachms  of  salt- 
petre of  the  third  drying:  this  might  be  omitted,  but 
I am  persuaded  it  contributes  to  blend  the  colour,  and 
make  it  more  uniform.  In  this  weak  aqua  regis,  I dis- 
solve an  ounce  of  English  tin,  previously  granulated 
by  dropping  it  when  melted  from  a certain  height  into 
a bason  of  cold  water.  These  grains  I drop  into  the 
solution  one  by  one,  waiting  till  the  first  is  dissolved 
before  I put  in  a second,  in  order  to  preserve  the  red 
vapours  which  rise  in  a great  quantity,  and  which 
would  be  lost  were  the  metal  to  be  dissolved  too  pre- 
cipitately. (All  this  theory  about  preserving  the  red 
vapours  is  good  for  nothing,  but  the  practice  is  good. 
T.  C.)  It  is  necessary  to  preserve  this  red  vapour, 
which  as  Kunckel  observed  in  his  time,  contributed 
to  the  vivacity  of  the  colour.  This  is  doubtless  a much 
more  tedious  method  than  that  used  by  the  dyers,  who 
throw  their  aqua  fortis  immediately  on  the  tin  grains, 
and  who  when  it  produces  a rapid  fermentation  and  a 
quantity  of  vapour,  allay  it  with  cold  water.  When  my 
tin  is  thus  gradually  dissolved,  the  scarlet  composi- 


105 


tion  is  complete,  and  the  liquor  is  of  the  colour  of  a 
solution  of  gold.  I use  the  finest  tin  without  alloy,  such 
1 as  the  first  production  of  the  furnaces  of  Cornwall, 
consequently  there  is  neither  dust  or  blaek  sediment 
at  the  bottom.  This  solution  of  tin,  though  so  very 
transparent  when  just  made,  becomes  milky  in  the 
violent  summer  heat.  The  dyers  are  generally  of 
opinion  that  it  is  then  turned,  and  no  longer  good.  I 
found,  however,  that  this  apparent  defect  made  no  dif- 
ference. Besides,  in  cold  weather  it  resumes  its  for- 
mer transparency,  provided  it  be  prepared  with  the 
several  precautions  which  I have  just  directed.  I must 
likewise  add,  that  it  should  be  preserved  in  flasks 
well  stopped  with  glass  stoppers,  to  prevent  the  vola- 
tile parts  from  evaporating.  The  dyer’s  composition, 
for  want  of  this  attention,  is  frequently  of  no  use  in 
twelve  or  fifteen  days.  I give  them  the  best  method, 
and  if  they  expect , perfection  they  must  alter  their 
present  defective  method. 

The  dyers  have  a stone  vessel  with  a wide  mouth, 
in  which  they  put  two  pounds  of  sal  ammoniac,  two 
ounces  of  refined  saltpetre,  and  two  pounds  of  granu- 
lated tin.  They  put  into  a separate  vessel  four  pints  of 
water,  half  a pint  of  which  they  throw  on  the  mixture 
in  the  stone  vessel.  They  afterwards  add  a pound  and 
a half  of  common  aqua  fortis,  which  produces  a vio- 
lent fermentation;  when  the  ebullition  ceases,  they  add 
as  much  more  aqua  fortis,  and  immediately  afterward, 
another  pound.  After  this  they  pour  on  it  the  remain- 
der of  the  four  pounds  of  water;  they  cover  the  vessel 
well,  and  let  it  stand  till  the  next  day.  The  saltpetre 

O 


106 


and  sal  ammoniac  may  be  dissolved  in  aqua  fortis  be- 
fore the  tin  is  added,  but  this  they  say  is  the  same 
thing,  though  it  is  certain  that  the  last  is  the  best  me- 
thod.  Others  mix  the  water  and  the  aqua  fortis  toge- 
ther, which  mixture  they  throw  on  the  tin  and  sal 
ammoniac.  Others,  in  short,  observe  different  pro- 
portions. 

The  day  after  preparing  this  composition,  they 
make  the  preparation  for  scarlet.  For  one  pound  of 
worsted  they  put  into  a small  copper  ten  gallons  of 
clear  water.  When  the  water  is  a little  more  than 
warm,  they  add  two  ounces  of  cream  of  tartar  in  fine 
powder,  and  a drachm  and  a half  of  pulverized  cochi- 
neal sifted.  They  keep  a quick  fire,  and  when  the 
liquor  is  ready  to  boil,  add  two  ounces  of  the  com- 
position, which  acid  immediately  changes  the  colour 
of  the  crimson  to  a blond  colour.  As  soon  as  the 
liquor  begins  to  boil,  they  plunge  the  worsted,  pre- 
viously steeped  in  hot  water  and  squeezed.  It  is  then 
stirred  without  ceasing,  and  suffered  to  boil  during  an 
hour  and  a half;  after  which  it  is  taken  out,  gently 
squeezed,  and  washed  in  cold  water.  The  worsted 
when  taken  out,  is  of  a tolerably  bright  flesh  colour, 
or  even  some  shades  darker,  according  to  the  good- 
ness of  the  cochineal,  and  the  strength  of  the  composi- 
tion. The  colour  of  the  liquor  is  so  entirely  imbibed 
by  the  worsted,  that  it  remains  almost  as  clear  as 
water.  This  is  called  the  scarlet  boiling;  a preparation 
absolutely  necessary,  and  without  Which  the  cochineal 
dye  would  not  hold. 

In  order  to  finish,  there  must  be  another  prepara- 


107 


tion  of  very  clear  water,  as  the  goodness  of  the  water 
is  of  infinite  consequence  to  the  perfection  of  the  co- 
lour. They  add  at  the  same  time  half  an  ounce  of 
starch,  and  when  the  liquor  is  better  than  warm,  six 
and  a half  drachms  of  well  pulverized  and  sifted 
cochineal  is  added  to  it.  Two  ounces  of  the  composi- 
tion is  poured  into  the  liquor  a little  before  it  boils, 
which  as  at  first  immediately  changes  the  colour.  You 
wait  till  it  begins  to  bubble,  and  then  dip  the  worsted. 
It  should  be  constantly  stirred  as  at  first,  and  in  the 
same  manner  suffered  to  boil  for  an  hour  and  a half; 
after  which  it  is  taken  out,  squeezed,  rinced  at  the 
river,  and  then  the  scarlet  is  in  perfection. 

One  ounce  of  cochineal  to  a pound  of  wool  will 
give  it  a fine  colour,  and  make  it  sufficiently  deep, 
provided  it  be  managed  with  attention  to  my  direc- 
tions, and  that  there  remain  no  colour  in  the  liquor. 
If  nevertheless,  you  would  have  it  deeper,  you  may 
add  a drachm  or  two  more  of  the  cochineal;  but  a 
greater  quantity  would  destroy  all  its  brightness  and 
vivacity. 

Though  I have  ascertained  the  quantity  of  the  com- 
position as  well  for  the  preparation  as  for  dyeing,  this 
quantity  should  not  be  considered  as  invariable.  The 
aqua  fortis  generally  used  by  the  dyers,  is  seldom  of 
an  equal  strength;  consequently,  if  it  be  always  mixed 
with  an  equal  quantity  of  water,  it  will  not  always  pro- 
duce the  same  effect.  There  are  certainly  some  me- 
thods of  ascertaining  the  different  degrees  of  the  acidity 
of  the  aqua  fortis;  as  for  example,  to  use  that  acid, 
onl}’^  two  ounces  of  which  will  dissolve  one  ounce  of 


108 


silver;  by  observing  this  method,  you  might  succeed 
in  making  a composition  that  would  always  be  the 
same;  but  then  the  quality  of  cochineal  would  occa- 
sion other  varieties.  However,  the  little  difference 
which  this  generally  produces  in  the  scarlet  shade,  is 
not  of  much  consequence;  besides,  there  is  a method 
of  remedying  this  defect,  and  bringing  it  precisely  to 
what  colour  you  please. 

If  the  composition  be  weak,  and  less  of  it  be  added 
than  I have  directed,  the  scarlet  will  be  rather  deeper 
and  stronger;  but  if  on  the  contrary,  there  be  a little 
too  much,  it  will  have  more  of  the  orange  colour,  / 
more  of  what  is  called  Jire.  In  order  to  give  it  this 
shade,  a little  more  of  the  composition  may  be  added 
after  the  first,  if  the  worsted  appears  to  have  imbibed 
too  deep  a colour.  But  the  wool  should  be  taken  out 
first,  and  the  composition  well  stirred  in  the  copper, 
for  if  it  happens  to  touch  the  wool  before  it  be  well 
mixed,  it  would  spot.  If  on  the  contrary,  the  scarlet 
be  too  fiery,  that  is,  too  much  on  the  orange,  or  too 
rusty,  there  is  nothing  to  be  done,  but  when  it  is  en- 
tirely finished,  to  dip  it  in  hot  water;  this  will  crimson 
it  a little;  that  is,  it  will  diminish  the  brightness  of  the 
orange;  but  if  this  be  not  found  sufficient,  it  will  be 
necessary  to  put  a little  Roman  alum  into  the  hot 
water.  (If  the  water  crimsons  the  colour,  it  is  owing 
to  saline  impurities,  such  as  calcareous  salts  contained 
in  it.  T,  C.) 

When  you  would  dye  a regular  series  of  scarlet 
sliades  on  worsted,  half  the  quantity  of  cochineal  and 
of  the  composition,  used  for  a full  scarlet,  will  be  suf 


109 


: ficient.  You  also  diminish  in  proportion  the  cream  of 
i tartar  in  the  preparation.  The  worsted  should  be 
I divided  into  as  many  skeins  as  you  would  have  shades; 
and  when  the  preparation  is  made,  you  dip  the  skein 
intended  for  the  lightest  shade,  which  should  remain 
but  a very  little  time;  the  next  shade  should  afterwards 
be  put  in,  and  suffered  to  remain  some  little  time 
longer,  and  so  on  to  the  darkest  shade:  the  worsteds 
are  then  washed,  and  the  liquor  prepared  in  order  to 
finish  them.  As  soon  as  the  liquor  is  in  a proper  state, 
every  shade  is  dipped  one  after  the  other,  beginning 
with  the  lightest.  If  you  perceive  any  skip  in  the  gra- 
dation of  shades,  the  skein  which  appears  deficient  in 
colour,  should  get  another  dip.  This  deficiency  is 
easily  perceived,  and  a very  little  practice  enables  you 
to  sort  them  perfectly. 

One  circumstance  in  the  art  of  dyeing,  which 
deserves  attention,  but  whieh  I have  not  yet  mention- 
ed, is,  an  enquiry  concerning  the  materials  of  which 
the  cauldron  is  made.  Dyers  are  divided  in  this  par- 
ticular. Their  cauldrons  in  Languedoc  are  made  of 
fine  tin.  Such  are  also  used  by  several  dyers  at  Paris; 
but  M.  Julienne,  whose  scarlet  is  very  highly  esteem- 
ed, makes  use  of  brass  cauldrons.  These  are  also  used 
in  the  dyeing  manufactory  of  St.  Denis.  M.  Julienne 
is  careful  only  to  suspend  a large  pack-thread  net  with 
small  meshes  in  his  cauldron,  to  prevent  the  stuff  from 
touching.  At  St.  Denis,  instead  of  a net  they  use  a 
large  open  wicker  basket;  but  this  is  less  convenient 
than  the  net,  because  it  requires  a man  at  each  side  of 
the  copper  to  keep  it  even,  and  to  prevent  it  when 


110 


loaded  with  the  stuff  from  rising  to  the  surface  of  the 
liquor. 

This  practice,  so  different  with  regard  to  the  mate- 
rials of  the  cauldron,  determined  me  to  make  an  ex- 
periment. I took  two  ells  of  white  Sedan  cloth,  which 
I dyed  in  two  cauldrons,  one  of  copper,  furnished 
with  a pack-thread  net,  and  the  other  of  tin.  I weighed 
the  cochineal,  the  composition,  and  other  ingredients, 
with  as  much  accuracy  as  possible.  They  boiled 
exactly  the  same  time.  In  short  I was  sufficiently  at- 
tentive to  make  the  operation  the  same  in  every  par- 
ticular; that  in  case  of  any  perceptible  difference,  it 
could  only  be  attributed  to  the  different  materials  of 
the  cauldrons.  After  the  first  boiling,  the  two  patterns 
were  absolutely  alike,  except  that  the  piece  dyed  in 
the  tin  cauldron,  was  rather  more  marbled  and  not 
quite  so  even  as  the  other;  but  this  in  all  probability 
might  be  occasioned  by  their  not  having  been  equally 
cleansed  at  the  mill.  I finished  each  piece  in  its  proper 
cauldron;  and  they  were  both  of  them  very  beautiful. 
Nevertheless  it  was  very  evident,  that  the  cloth  which 
had  been  dyed  in  the  tin,  was  more  fiery,  and  the 
other  rather  more  crimsoned.  They  might  have  been 
easily  brought  to  the  same  shade,  but  this  was  not  my 
object.  From  this  experiment  it  appears,  that  with  a 
copper  cauldron,  the  quantity  of  the  composition 
should  be  increased;  but  then  the  cloth  becomes  hard 
to  the  touch.  Those  who  dye  in  copper,  to  prevent 
this  evil,  add  a little  turmeric,  which  is  a drug  only 
used  for  false  colours,  and  therefore  prohibited  by  the 
regulations  to  dyers  in  grain,  but  which  gives  scarlet 


Ill 


that  dazzling  fiery  colour,  so  much  the  fashion  at  pre- 
sent. It  is  however,  if  you  have  any  suspicion,  easy  to 
discover  the  deception  by  cutting  the  pattern  with  a 
pair  of  scissars.  If  it  has  no  turmeric,  the  cut  edge  will 
appear  white,  otherwise  it  will  be  yellow.  When  the 
close  texture  is  equally  dyed  with  the  superficies,  let 
the  colour  be  what  it  will,  they  say  the  colour  cuts; 
and  the  contrary,  when  the  middle  of  the  texture  re- 
mains  white.  Legitimate  scarlet  never  cuts.  I call  it 
legitimate,  and  the  other  false,  because  that  dyed  with 
the  addition  of  the  turmeric,  is  more  liable  to  fade. 
But  as  the  taste  for  colours  is  so  variable,  as  the 
bright  scarlets  are  at  present  the  mode,  and  as  it  is 
necessary  in  order  to  please  the  buyer,  that  it  should 
have  a yellow  cast,  it  would  be  better  to  authorize  the 
use  of  the  turmeric,  though  a false  colour,  than  to 
allow  too  large  a quantity  of  the  composition,  by  which 
the  cloth  is  injured;  being  more  liable  not  only  to  dirt, 
but  also  to  tear,  as  the  fibres  of  the  wool  are  rendered 
brittle  by  the  acid. 

I must  also  add,  that  a copper  cauldron  should  be 
kept  extremely  clean.  I have  myself  frequently  failed 
in  scarlet  patterns,  by  neglecting  to  clean  the  caul- 
dron. I cannot,  in  this  place,  forbear  condemning  the 
practice  even  of  some  eminent  dyers,  who  at  about 
six  o’clock  in  the  evening  make  their  preparation  in 
a copper  cauldron;  and  in  order  to  gain  time,  keep  it 
hot  till  day  light  the  next  morning,  when  they  dip 
their  stuffs.  The  preparation  must  undoubtedly  cor- 
rode the  copper  during  the  night,  and  consequently 
by  introducing  coppery  particles  into  the  cloth,  injure 


112 


the  scarlet.  They  will  tell  us,  that  they  do  not  put  in 
the  composition  till  immediately  before  the  cloth  is 
dipped;  but  this  is  no  apology,  for  the  cream  of  tar- 
tar, added  on  the  preceding  evening,  being  suffi- 
ciently acid  to  corrode  the  copper,  forms  a verdigris, 
which  dissolves,  it  is  true,  as  soon  as  it  is  formed,  but 
which  nevertheless  produces  the  same  effect. 

As  tin  is  absolutely  necessary  in  the  scarlet  dye,  it 
were  much  better  to  have  a cauldron  made  of  this 
metal,  which  would  infallibly  contribute  to  the  beauty 
of  the  colour.  But  these  cauldrons,  if  sufficiently 
large,  cost  three  or  four  thousand  livres;  an  object  of 
consideration,  especially  as  they  may  melt  in  the  first 
operation,  if  not  carefully  attended  to  by  the  workman. 
Besides,  it  would  be  very  difficult  to  cast  a vessel  of 
so  large  a size,  without  flaws,  vrhich  would  require 
to  be  filled.  It  is  absolutely  necessary  that  they  be 
made  of  block  tin.  If  the  flaws  should  be  filled  with 
solder,  which  contains  a mixture  of  lead,  many  parts 
of  the  cauldron  will  retain  the  lead,  which  being  cor- 
roded  by  the  acid  composition,  will  tarnish  the  scar- 
let. Hence  there  are  inconveniences  in  every  parti- 
cular: nevertheless  if  it  were  possible  to  procure  a 
skilful  workman,  capable  of  casting  a cauldron  of 
melac  (molucca,  T.  C.)  without  flaws,  it  would  cer- 
tainly be  preferable  to  every  other.  (A  common  tin 
boiler,  where  the  joints  are  soldered  with  a solder 
consisting  chiefly  of  tin,  answers  all  the  purposes,  if 
kept  clean,  and  frequently  examined:  but  if  the  iron 
become  exposed  to  rust,  through  want  of  care,  it 
greatly  hurts  the  colour.  Perhaps  tinned  copper  is  the 


113 


t best  upon  the  whole.  The  bottom  is  frequently  made 
of  copper.  T.  C.)  For  though  the  acid  of  the  compo- 
f sition  should  in  some  parts  corrode  it,  the  detached 

I particles  will  do  no  harm,  as  I have  already  ob- 

served. 

There  is  no  danger  of  melting  a tin  cauldron,  except 
when  it  is  emptied  in  order  to  fill  it  with  the  fresh 
liquor;  I shall  therefore  add  the  precautions  necessary 
to  prevent  this  evil.  In  the  first  place,  the  fire  should 
be  taken  entirely  from  the  furnace,  and  the  remaining 
embers  quenched  with  water.  Part  of  the  liquor  should 
then  be  taken  out  v/ith  a bucket,  while  the  remainder 
should  be  dashed  about  with  a shovel,  by  another 
person,  in  order  to  keep  the  upper  part  of  the  caul- 
dron continually  moist;  at  the  same  time  cooling  what 
remains  in  the  cauldron  with  cold  water.  In  this  man- 
ner it  should  be  continued,  till  you  can  touch  the 
bottom  without  being  burnt.  It  should  then  be  en- 
tirely emptied,  and  all  the  sediment  taken  up  with  a 
moist  spunge.  This  attention  will  preserve  your  caul- 
dron. 

Having  given  the  method  of  dyeing  worsteds  in 
scarlet,  and  of  making  the  shades  required  for  all  kinds 
of  tapestry,  I shall  now  add  the  method  of  dyeing  se- 
veral pieces  of  stuff  at  the  same  time;  and  shall  in  this 
place,  describe  the  practice  used  in  Languedoc,  as  it 
was  communicated  to  me  by  M.  De  Fondieres,  then 
inspector  general  of  the  manufactories.  I made  the 
experiment  myself  with  several  ells  of  stuff,  and  suc- 
ceeded perfectly  well,  though  the  colour  was  not  quite 
so  fine  as  the  scarlet  of  Gobelins. 

P 


114 


It  is  necessary  to  observe,  that  woollens  are  never 
dyed  scarlet  in  the  fleece,  for  the  two  following  rea- 
sons. The  first  is,  or  ought  to  regard  all  stuffs  of  sim- 
ply one  colour;  those  of  many  colours  are  called  mixt 
stuffs.  This  kind  of  stuffs  is  never  dyed  in  the  wool, 
especially  when  the  colours  are  bright  and  fine;  be- 
cause in  the  course  of  the  fabrication,  the  spinning, 
twisting  or  weaving,  it  would  be  almost  impossible  to 
prevent  some  white  or  other  coloured  wool  from  mix- 
ing, which  though  ever  so  trifling,  would  injure  the 
stuff.  For  which  reasons,  reds,  blues,  yellows,  greens, 
or  any  of  these  unmixed  colours,  should  not  be  dyed 
till  after  they  have  been  manufactured. 

The  second  reason  is  peculiar  to  scarlet,  or  rather 
to  the  cochineal,  which  being  heightened  by  an  acid, 
cannot  stand  the  fulling,  without  losing  much  of  its 
colour,  or  being  at  least  excessively  crimsoned.  For 
the  soap,  which  contains  an  alkaline  salt,  destroys  the 
vivacity  produced  by  the  acids.  Hence  it  is  evident, 
that  neither  cloth  or  stuffs  should  be  dyed  scarlet,  till 
they  have  been  fulled  and  dressed. 

For  example,  in  order  to  dye  five  pieces  of  Carcas* 
siouiie  cloth  at  the  same  time,  each  piece  being  five 
quarters  broad,  and  fifteen  or  sixteen  ells  in  length,  it 
is  necessary  to  observe  the  following  proportions.  You 
begin  by  making  the  composition  in  a very  different* 
manner  from  the  preceding  process,  viz.  twelve  pounds 
of  aqua  fortis  put  into  a stone  jar,  or  glazed  vessel, 
with  twenty-four  pounds  of  water,  and  one  pound  and 
a half  of  tin  grains  (granulated  tin)  added.  The  solu- 
tion goes  on  more  or  less  slow,  according  to  the  aci- 


115 


I dity  of  the  aqua  fortis,  and  should  stand  for.  twelve 

I hours  at  least.  During  this  time,  a kind  of  blackish 

^ dirt  falls  to  the  bottom;  the  top  should  be  then  drain- 

i ed  off  the  sediment:  this  liquor  is  of  a clear  lemon 

; colour,  and  is  preserved  by  itself.  This  process  evi- 

dently differs  from  the  first,  by  the  quantity  of  water 
mixed  with  the  aqua  fortis,  and  by  the  small  portion 
of  tin,  of  which  scarce  any  remains  in  the  liquor;  for 
the  aqua  fortis,  not  being  in  itself  a solvent  for  tin, 
only  corrodes  and  reduces  it  to  a calx,  provided  nei- 
ther saltpetre,  or  sal  ammoniac  be  added,  which  would 
convert  it  into  an  aqua  regia.  The  effect  of  this  com- 
position is  not,  however,  different  from  others,  and  is 
perceptible  to  those,  who  from  experience  are  compe- 
tent judges  of  this  colour.  The  composition  without 
sal  ammoniac,  has  been  for  a long  time  used  by  the 
manufacturers  of  Carcassionne,  who  doubtless  ima- 
gined  that  its  effect  was  owing  to  a supposed  sulphur 
of  tin,  and  may  be  preserved  from  putrefaction  for 
thirty  hours  in  winter,  and  only  twenty-four  in  sum- 
mer. It  then  grows  turbid,  forms  a cloud,  which  falls 
to  the  bottom  of  the  vessel  in  a white  sediment.  This 
sediment  is  a small  portion  of  the  tin  which  was  sus- 
pended in  an  acid  not  prepared  for  the  solution;  the 
composition  which  ought  to  be  yellow,  becomes  clear 
as  water,  and  if  employed  in  this  state  never  suc- 
ceeds, but  produces  the  same  effect  as  if  it  had  been 
milky.  The  late  M.  Barron,  pretended  to  be  the  first 
at  Carcassionne  who  made  the  discovery,  that  sal  am- 
moniac was  necessary  to  prevent  the  tin  from  precipi- 
tating. Hence  it  follows,  that  there  was  not  in  this  city 


116 


a creature  who  knew  that  aqua  regia  was  the  only  ac- 
tual solvent  for  tin.  (The  precipitate,  is  tin  too  highly 
oxyded  to  remain  dissolved.  T.  C.) 

When  the  composition  is  prepared,  as  I have  now 
described,  according  to  M.  de  Fondieres,  you  put  for 
the  quantity  of  cloth  last  mentioned,  about  sixty  cubic 
feet  of  water  into  a large  copper;  when  the  water 
grows  warm,  you  add  a sack  full  of  bran:  it  is  some- 
times necessary  to  use  sour  water;  they  will  either 
of  them  do  as  they  say  to  correct  the  water,  that  is  to 
absorb  the  earthy  and  alkaline  substances,  which  as 
I have  already  said,  when  present  in  water,  crimson 
the  tinge  of  the  cochineal.  (A  small  quantity  of  alum 
should  be  added,  and  the  water  well  scummed  while 
boiling.  T.  C.)  We  should  be  well  informed  concern- 
ing the  nature  of  the  water  employed,  in  order  to  know 
whether  these  correctives  be  necessary.  Be  it  as  it 
may,  when  the  water  is  a little  more  than  warm,  add 
ten  pounds  of  crystals  or  cream  of  tartar  pulverized; 
that  is  to  say,  two  pounds  to  each  piece  of  cloth. 
(Very  clean  white  tartar  might  answer  the  purpose. 
T,  C.)  The  liquor  should  be  then  violently  stirred, 
and  when  rather  hot,  you  should  put  into  it  half  a 
pound  of  pulverized  cochineal,  mixing  it  well  toge- 
ther; and  immediately  afterwards  pour  into  it  twenty- 
seven  pounds  of  the  composition,  very  clear,  which 
also  requires  to  be  well  stirred.  So  soon  as  it  begins 
to  boil,  the  cloth  being  immersed,  should  boil  very 
fast  for  two  hours,  and  during  that  time  should  be 
kept  in  continued  motion  on  the  winch,  and  when 
taken  out,  pass  it  through  the  hands  by  the  listing,  in 


117 


^ order  to  open  and  give  it  air.  It  is  afterwards  carried 
to  the  river  and  well  washed. 

I In  order  perfectly  to  understand  the  method  of 
f stirring  the  cloth,  it  is  necessary  to  recollect  what 
has  been  said  in  the  beginning  of  this  work,  viz.  that 
i a kind  of  reel  or  winch  with  a handle  for  turning, 
should  be  placed  horizontally  on  the  iron  hooks,  which 
are  fixt  in  the  fellies  that  support  the  edge  of  the  caul- 
dron. You  first  join  the  several  ends  of  each  piece  of 
stuff  to  be  dyed  at  the  same  time,  and  as  soon  as  they 
are  immersed,  you  carefully  keep  the  end  of  the  first 
piece  in  your  hand,  you  then  lay  it  on  the  reel,  which 
should  be  turned  till  the  end  of  the  last  piece  appears. 
It  is  then  turned  the  contrary  way,  and  in  this  manner 
every  piece  will  be  dyed  as  evenly  as  possible. 

When  the  cloth  has  been  well  washed,  the  cauldron 
should  be  emptied  and  fresh  liquor  prepared,  to  which 
you  must  add,  if  necessary,  a bag  of  bran  (and  a little 
alum,  T.  C.)  or  some  sour  water;  but  if  the  quality  of 
the  water  be  very  good,  there  is  no  occasion  for  any  ad- 
dition. When  the  liquor  is  ready  to  boil,  you  put  in 
eight  pounds  and  a quarter  of  cochineal  pulverized 
and  sifted.  The  whole  is  then  mixed  together  as  even 
as  possible;  but  when  you  cease  to  stir,  you  must 
mind  when  the  cochineal  rises  to  the  surface,  forming 
a kind  of  scum  of  the  colour  of  wine  lees.  As  soon  as 
this  scum  begins  to  divide,  you  pour  in  eighteen  or 
twenty  pounds  of  the  composition.  You  should  have 
a vessel  full  of  cold  water  near  the  cauldron  to  throw 
in,  lest  after  putting  in  the  composition  it  should  rise 
above  the  edge,  as  is  sometimes  the  case. 


118 


The  composition  being  put  in  the  copper  and  the 
whole  well  mixed,  turn  the  winch  quick  for  two  or 
three  turns,  that  every  piece  may  imbibe  the  cochi- 
neal equally.  It  is  then  turned  more  slowly,  in  order 
to  let  the  water  boil.  It  should  boil  very  fast  for  two 
hours,  constantly  turning  and  keeping  the  cloth  down 
with  a stick.  The  cloth  is  then  taken  out,  and  passed 
through  the  hands  by  the  listing,  in  order  to  give  it 
air  and  to  cool  it;  it  is  afterwards  washed  at  the  river, 
dryed  and  dressed. 

Hence  it  appears  that  for  every  piece  of  Languedoc 
cloth,  five  quarters  wide  and  sixteen  ells  long,  design- 
ed for  the  Levant,  there  is  required  a pound  and  three 
quarters  of  cochineal;  which  quantity  is  sufficient  to 
give  the  cloth  a very  fine  colour.  But  if  you  still  re- 
quire an  orange  tint,  and  increase  the  quantity  of 
cochineal,  you  must  increase  the  quantity  of  the  com- 
position, which  would  injure  the  cloth  without  im- 
proving the  colour.  (These  remarks  give  great  weight 
to  Dr.  Bancroft’s  proposal  of  flaming  with  quercitron. 
T.  C.) 

There  is  a considerable  advantage  in  having  a great 
quantity  of  stuff  to  dye  at  the  same  time.  As  for  ex- 
ample, when  the  first  five  pieces  are  finished,  there 
remains  a certain  quantity  of  the  cochineal,  which 
supposing  seven  pounds  at  first,  may  amount  to 
twelve  ounces;  so  that  cloth  being  put  into  this  se- 
cond liquor,  will  imbibe  the  same  shade  of  rose  co- 
lour, as  if  you  had  coloured  a fresh  liquor  with 
twelve  ounces  of  cochineal.  The  quantity  remaining, 
however,  may  vary  very  much  according  to  the  na- 


119 


ture  of  the  cochineal,  or  according  to  the  fineness  of 
the  powder,  but  I shall  speak  more  particularly  of  this, 
before  the  conclusion  of  this  chapter.  Though  the 
quantity  of  colour  remaining  in  the  liquor  may  be  very 
inconsiderable,  it  nevertheless  deserves  attention  on 
account  of  the  dearness  of  this  drug.  Of  this  liquor 
therefore,  a preparation  may  be  made,  for  five  pieces 
of  cloth;  and  it  will  require  less  of  the  cochineal  and 
less  of  the  composition  in  proportion,  as  near  as  you 
can  guess,  to  the  quantity  of  these  remaining  in  the 
liquor.  This  is  also  a saving  of  fuel  and  time;  but  it 
is  impossible  to  give  positive  directions  on  this  sub- 
ject, which  must  be  submitted  to  the  dyer’s  discre- 
tion; for  having  dyed  rose  colour  after  the  scarlet,  you 
may  make  a third  preparation,  which  will  dye  a flesh 
colour.  If  there  should  not  be  time  to  make  these  two 
or  three  preparations  in  twenty- four  hours,  the  liquor 
spoils.  Some  dyers  put  Roman  alum  into  the  liquor  to 
prevent  its  spoiling,  but  this  changes  it  to  a crimson. 

Scarlets  thus  crimsoned  in  the  same  liquor  in  which 
they  have  been  dyed,  are  never  so  bright  as  those 
which  are  done  in  a fresh  colour.  Drugs  which  reci- 
procally destroy  each  other’s  effect,  are  more  effica- 
cious when  dyed  in  succession. 

When  you  dye  cloths  of  different  qualities,  or  any 
kind  of  stuffs,  the  best  method  is  to  weigh  them,  and 
for  every  hundred  pounds  of  cloth,  to  allow  six  pounds 
of  crystals  or  cream  of  tartar,  eighteen  pounds  of  the 
composition  in  the  preparation^  and  the  same  quantity 
in  the  finishing;  and  in  each  of  them  six  pounds  and 
a quarter  of  cochineal;  that  is,  two  ounces  of  cochineal 


1 


120 


in  all,  for  each  pound  of  woollen  cloth.  In  small  expe- 
ments,  use  one  ounce  of  cream  of  tartar,  six  ounces 
of  composition,  and  one  ounce  of  cochineal  for  the 
preparation,  and  then  another  ounce  of  cochineal  for 
the  finishing,  to  a pound  of  wool.  Some  of  the  Paris 
dyers  succeed  very  well  by  putting  two-thirds  of  the 
composition,  and  a quarter  of  the  cochineal  in  the 
preparation,  and  the  remaining  third  of  the  composi- 
tion, and  three-fourths  of  the  cochineal  in  the  finishing. 

It  is  not  the  custom  to  put  crystals  or  cream  of  tar- 
tar jn  the  finishing,  but  I am  convinced  by  experience, 
that  it  does  no  harm,  provided  that  at  most  you  put 
but  half  the  weight  of  the  cochineal,  and  it  made  the 
colour  in  my  opinion  more  permanent.  There  have 
been  dyers  who  have  dyed  scarlet  at  three  times;  in 
this  case  they  make  two  preparations,  and  then  finish; 
but  they  always  use  the  same  quantity  of  drugs. 

I observed  in  the  preceding  chapter  (says  Hellot)  ; * 
that  the  kermes  were  so  little  used  for  brown  or  Vene-  ■ 
tian  scarlets,  that  these  kind  of  colours  were  made  with  Sf ' 
cochineal.  For  this  purpose  the  preparation  is  made  y 
as  usual,  and  for  the  dyeing,  they  add  to  the  liquor^ff 
eight  pounds  of  alum  to  every  hundred  pounds  offl 
stuff.  This  alum  is  dissolved  in  a separate  cauldron  4 
with  a sufficient  quantity  of  water.  It  must  be  thrown 
into  the  liquor  before  the  cochineal.  The  remainder 
is  done  precisely  the  same  as  in  common  scarlet:  it  I 
gives  the  cloth  the  same  colour  as  Venetian  scarlet,  ^ I 
but  it  is  not  by  any  means  so  permanent  as  the  colour  ' fl 
obtained  from  kermes.  u:  1 

All  alkaline  salts  crimson  scarlet;  but  it  is  more  I 


121 


generally  the  custom  to  use  alum;  for  these  alkaline 
salts  are  no  addition  to  the  permanency  of  the  colour, 
and  may  possibly  injure  the  stuffs;  for  all  animal  sub- 
stances are  attacked  by  fixed  alkalies.  The  alum  by 
being  deprived  of  its  phlegm  by  calcination,  will  more 
certainly  crimson.  The  liquor  which  had  been  used 
for  crimsoning  is  red,  and  still  redder  in  proportion 
as  the  scarlet  is  more  crimsoned,  so  that  the  colours 
part  with  much  of  their  base  in  the  liquor,  by  which 
they  are  darkened.  It  is  however  impossible  to  darken 
in  grain  without  salts.  The  late  M.  Barron,  in  a me- 
moire  which  he  presented  to  the  Royal  Academy  of 
Sciences,  remarks,  that  he  succeeded  better  with  the 
salt  of  urine  than  with  any  other  salt,  for  uniting  the 
colour  and  preserving  its  brightness  and  fulness;  but 
as  he  observed,  it  is  very  inconvenient  to  make  any 
quantity  of  this  salt.  (Then  why  not  use  the  urine 
itself.  T.  C.) 

I said  in  the  beginning  of  this  chapter,  that  the 
choice  of  water  for  the  dyeing  of  scarlet  was  of  im- 
portance. The  greatest  part  of  the  common  waters 
sadden,  because  tliey  almost  always  contain  a quantity 
of  stony  or  calcareous  earth,  and  sometimes  of  sul- 
phureous or  vitriolic  acid.  These  are  commonly  call- 
ed hard  waters;  by  this  term  they  mean  waters  that 
will  not  dissolve  soap,  and  in  which  it  is  not  easy  to 
dress  vegetables.  By  absorbing  or  precipitating  these 
heterogeneous  substances,  all  waters  are  rendered 
equally  good.  If  the  matter  be  alkaline,  a little  sour 
Water  will  produce  this  effect.  Five  or  six  cubic  feet 
of  this  sour  water  (an  English  cubic  foot  of  water 

Q 


122 


weighs  one  thousand  ounces  or  sixty-two  and  a half 
pounds  avoirdupois  weight  at  the  freezing  point;  as 
a pint  of  water  weighs  one  pound  avoirdupois,  a cubic 
foot  will  be  equal  to  sixty-two  pints  and  a half,  or 
7,781  gallons,  somewhat  more  than  seven  gallons  and 
three  quarters,  T.  C.)  added  to  sixty  or  seventy  cubic 
feet  of  other  water  before  it  is  boiled,  will  cause  the 
alkaline  earth  to  rise  in  a scum,  which  may  easily  be 
taken  off  the  liquor.  A sack  full  of  any  white  mucila- 
ginous root  cut  in  small  bits,  or  if  dry,  powdered,  will 
also,  if  the  sack  be  left  to  soak  in  the  water  for  half  or 
three  quarters  of  an  hour,  correct  a doubtful  water; 
bran,  as  I said  above,  will  answer  the  same  purpose 
tolerably  well.  (A  little  alum  is  necessary.  T.  C.) 

What  I have  said  in  this  chapter,  is  meant  for  the 
instruction  of  those  who  wish  to  acquire  a knowledge 
of  dyeing;  I shall  now  endeavour  to  satisfy  the  philo- 
sopher, and  present  him  with  the  experiments  by 
which  I discovered  this  invisible  mechanism,  if  I may 
be  allowed  the  expression,  of  these  various  prepa- 
rations. 

Strong  acids  destroy  the  colour  of  an  infusion  of 
cochineal.  Alkalies  turn  it  purple. 

Any  solution  of  iron  turns  such  an  infusion  into  an 
ash  gray. 

Nitrat  of  zinc  changes  it  into  a violet  slate  colour. 

Sugar  of  lead  produces  a tarnished  lilac,  or  lay- 
lock. 

Sulphat  of  potash,  produces  an  agate  gray.  So  does 
sulphat  of  soda,  or  Glauber’s  salt. 

Nitrat  of  bismuth,  a beautiful  bright  turtle  gray. 


I 


123 

Nitrat  of  copper,  a dirty  crimson. 

Nitrat  of  silver,  a cinnamon. 

Gold  in  aqua  regia,  a marron. 

Nitrat  of  mercury,  a similar  colour. 

Fixed  salt  of  urine,  a clear  ash  colour. 

Extract  of  bismuth  (I  do  not  know  what  is  meant 
by  extract,  unless  it  be  the  solution  in  aqua  fortis  or 
aqua  regia,  T.  C.)  produces  a violet  as' fine  as  if  the 
cloth,  previous  to  the  application  of  red,  had  been 
dyed  an  azure  blue. 

(All  the  preceding  experiments  are  uncertain,  be- 
cause the  tinge  may  be  in  some  degree  owing  to  the 
impurity  of  the  acids  in  respect  of  iron.  The  solution 
of  bismuth  is  coming  daily  into  repute  as  a mordant, 
owing  to  the  brilliancy  of  the  tints  it  produces.  T.  C.) 

Before  the  conclusion  of  this  chapter,  I shall  make 
some  observations,  which  will  not  I think  be  unac- 
ceptable to  the  reader.  Neither  the  dirt  of  the  street 
nor  acid  substances,  will  spot  scarlet  if  immediately 
washed  off  with  a clean  towel  and  water;  but  if  suffer- 
ed to  dry,  a violet  colour  is  produced  by  dirt,  which 
cannot  be  corrected,  without  a vegetable  acid,  such  as 
vinegar,  lemon  juice,  or  a weak  solution  of  white  tar- 
tar made  warm;  but  if  these  acids  are  not  managed 
with  great  care,  they  will  leave  a yellow  spot  in  taking 
off  a dark  one.  I have  before  observed,  that  acids  will 
rust  and  destroy  even  the  red  of  cochineal.  A red  cloak 
extremely  spotted  with  dirt  may  be  cleaned  with  sour 
water.  For  some  kind  of  spots  it  is  necessary  to  dip 
the  stuffs  in  the  liquor  that  remains  after  dyeing  scar- 


124 


let,  but  for  others  you  are  obliged  to  discharge  the 
colour  and  dye  it  again. 

Alkalies  have  not  alone  the  property  of  destroying 
the  scarlet  colour.  A piece  of  scarlet  cloth  put  into 
the  preparation  for  this  colour,  will  be  discharged  in 
such  a manner,  that  if  it  boil  but  for  one  hour  with 
three  pieces  of  white  cloth,  it  will  be  difficult  to  dis- 
tinguish that  which  was  scarlet  from  the  others. 

If  you  dip  a piece  of  scarlet  cloth  in  the  preparation 
water  it  will  lose  all  its  colour,  which  can  be  restored 
by  dyeing  it  again  in  cochineal  liquor,  but  not  with 
the  same  brightness.  Scarlet  cloth  always  loses  some 
of  its  brightness  in  dressing,  because  it  lays  the  fibres 
of  the  nap,  almost  parallel  with  the  weft. 

(Such  is  the  account  of  the  scarlet  dye  given  by 
Hellot;  which  I have  extracted  nearly  at  length,  be- 
cause although  it  is  far  from  being  the  best  account 
of  the  process,  either  in  theory  or  in  practice,  it  con- 
tains a great  number  of  very  useful  practical  observa- 
tions, and  it  is  an  account  also,  which  if  followed,  will 
enable  a person  to  dye  a good  scarlet.  I proceed  now 
to  the  more  modern  processes  of  Berthollet  and  Ho- 
massel.  T.  C.) 

On  the  Scarlet  Dye  of  Messrs.  Berthollet.  Scarlet  is 
the  most  beautiful  of  dyed  colours.  The  public  taste 
is  not  constant  as  to  the  tint  which  is  preferred.  Some- 
times a deep  and  perfect  red  is  in  demand,  more  fre- 
quently a flame  colour. 

Before  we  proceed  to  the  method  of  dyeing  scarlet, 
it  will  be  proper  to  describe  the  method,  or  rather  the 


125 


various  methods  of  making  the  composition,  or  solu- 
tion of  tin. 

On  this  subject,  every  dyer  has  his  own  receipt;  and 
indeed  the  results  of  different  processes  are  different.  It 
is  of  great  consequence  however,  that  each  artist  should 
adhere  to  one  uniform  mode  of  making  it  for  his  own 
purposes,  whatever  mode  he  may  think  fit  to  adopt; 
otherwise,  he  can  derive  no  benefit  for  the  future, 
from  observations  he  may  make  on  processes  that  are 
past. 

The  old  dyers,  and  indeed  many  at  present,  use 
nothing  but  aqua  fortis,  which  is  frequently  an  im- 
pure acid  approaching  to  an  aqua  regia;  owing  to  the 
impure  state  of  the  nitre  used,  which  contains  a varia- 
ble quantity  of  common  salt,  from  which  the  gunpow- 
der makers  find  it  absolutely  necessary  to  purify  the 
nitre  they  make  use  of.  Hence  aqua  fortis  thus  made, 
can  never  be  always  of  the  same  quality. 

Pure  nitric  acid  (aqua  fortis)  never  holds  the  tin  in 
solution  unless  it  be  greatly  diluted,  and  unless  the 
vessel  in  which  the  solution  is  made,  be  placed  in 
cold  water.  In  this  case,  the  metal  is  at  the  lowest 
state  of  oxydation,  according  to  the  observation  of 
Proust;  but  it  soon  precipitates  in  the  form  a white 
sediment,  even  at  a common  temperature. 

Vogler  used  for  the  scarlet  dye,  a solution  thus 
made,  but  he  prevented  the  tin  from  being  precipi- 
tated, by  using  either  common  salt  or  sal  ammoniac; 
but  one  might  as  well  employ  aqua  regia  at  once, 
which  demands  less  attention. 

If  a stronger  nitric  acid  be  employed,  or  if  heat  be 


126 


used,  the  tia  passes  to  its  highest  state  of  oxydation, 
and  is  entirely  precipitated.  (This  precipitate  indicates 
the  weight  of  tin  that  there  may  be  in  an  alloy  or  mix- 
ture of  metals,  for  in  the  state  of  this  precipitate,  the  tin 
has  taken  up  forty  parts  of  oxygen  for  one  hundred 
parts  of  tin.  The  oxygen  is  obtained  from  the  decom- 
position of  the  nitric  acid.) 

Hellot  takes  thirty-two  parts  of  nitric  acid  diluted 
with  an  equal  weight  of  pure  water.  In  this  acid  he 
dissolves  gradually  two  parts  of  sal  ammoniac  white 
and  pure,  and  one  part  of  common  nitre;  and  then, 
by  a small  quantity  at  a time,  two  parts  of  granulated 
tin. 

Scheffer  dissolved  one  part  of  tin  in  four  parts  by 
weight  of  aqua  regia,  or  nitro-muriatic  acid. 

Macquer  dissolved  three  parts  of  tin  in  eight  parts 
of  nitric  acid,  in  which  he  mixed  one  part  of  sal  am- 
moniac dissolved  in  six  parts  of  water. 

Gulich  saturated  tlie  nitro-muriatic  acid  he  employ- 
ed with  tin  put  in'  by  degrees. 

Posrner  used  other  proportions. 

These  solutions,  so  different  in  their  preparation, 
must  of  course  have  different  properties;  but  one  es- 
sential object  is  not  obtained,  namely,  an  uniform  pre- 
paration of  this  composition;  uniform  as  to  the  kind 
of  acid,  the  strength  of  the  acid,  and  the  proportion 
of  tin  and  of  other  ingredients  if  any  such  are  used. 
For  this  purpose  it  is  absolutely  necessary  to  have 
pure  nitric  acid,  and  of  a given  strength. 

Take  therefore  nitric  acid,  which  weighs  1,5  or  half 
as  much  more  as  water  under  the  same  bulk,  (the 


127 


nitric  acid  of  this  country  seldom  weighs  more  than 
1,33,  or  a third  more  than  water,  T,  C.)  dissolve  in  it 
one-eighth  part  of  clean  white  sal  ammoniac  or  muriat 
of  ammonia,  and  add  by  very  small  quantities  at  a time 
an  eighth  part  of  tin;  dilute  this  mixture  with  one- 
fourth  of  its  weight  of  water.  Common  tin  often  con- 
tains lead  and  copper,  and  therefore  the  best  English 
tin  is  to  be  preferred.  Care  must  be  taken  in  granulat- 
ing it,  by  pouring  it  in  water,  to  avoid  the  particles 
being  thrown  out;  the  water  should  be  stirred  with  a 
small  broom  during  the  granulation. 

When  the  tin  is  dissolved,  there  is  usually  a small 
deposit  of  black  powder,  from  which  the  solution  must 
be  decanted. 

Solutions  which  contain  a great  proportion  of  tin, 
are  brown,  and  give  deeper  and  less  brilliant  colours; 
though  such  solutions  are  occasionally  wanted.  Such 
a solution,  highly  charged  with  tin,  may  be  obtained  by 
distilling  in  a retort  at  a strong  heat  equal  parts  of  sal 
ammoniac  and  oxyd  of  tin;  the  residuum  dissolved 
and  filtered,  and  then  evaporated  till  it  crystallizes, 
furnishes  a triple  salt  of  muriatic  acid,  ammonia,  and 
oxyd  of  tin,  which  requires  the  addition  of  a little  mu- 
riatic  acid  to  prevent  the  tin  from  precipitating. 

As  the  solution  of  tin  is  apt  to  become  gelatinous, 
from  the  gradual  oxydation  of  the  tin,  partly  by  the 
nitric  acid,  and  partly  by  imbibing  oxygen  from  the 
atmosphere,  it  is  best  not  to  make  too  much  of  it  at  d 
time:  this  gelatinous  effect  is  sooner  produced  in  sum- 
mer than  in  winter.  (To  prevent  this,  the  tin  solution 
should  be  kept  in  a cool  place,  in  a dark  place,  in  a 


128 


greenish  glass  bottle,  well  stopped  with  a glass  stop- 
per,  with  a little  butter  round  the  juncture  to  exclude 
the  air.  T,  C.) 

Long  experience  has.  shown,  that  if  the  solution  be 
made  so  hastily  and  violently  that  the  nitric  acid  is 
much  decomposed,  and  many  red  vapours  produced, 
the  colour  is  never  so  good  on  the  cloth,  as  when  the 
composition  is  made  slowly,  patiently,  in  a cool  place, 
the  tin  put  in  by  a grain  or  two  at  a time,  and  the 
composition  used  soon  after  it  is  made. 

(Such  are  the  judicious  directions  of  the  M.  M.  Ber- 
thollets  on  the  scarlet  composition.  Homassel  merely 
recommends  a weak  nitric  acid,  without  indicating  the 
strength:  he  dissolves  two  ounces  of  sal  ammoniac,  or 
two  ounces  of  common  salt,  which  (according  to  him) 
is  indifferent,  and  two  ounces  of  granulated  English  tin, 
in  a pound  of  this  nitric  acid.  But  the  composition  is 
so  important  that  I shall  give  at  length  my  own  ideas 
concerning  it:  premising  that  common  salt  ought  to 
be  rejected,  since^one  bushel  of  it  will  vary  in  weight 
from  fifty- six  to  eighty-two  pounds.  First  of  all,  buy 
the  strongest  nitric  acid  (colourless  aqua  fortis)  you 
can  get.  It  is  easy  to  buy  weak  nitric  acid,  but  diffi- 
cult to  get  it  strong.  In  London  or  Paris  you  may 
procure  this  acid,  which  shall  weigh  1,5  or  once  and 
a half  in  weight  as  much  as  water,  but  not  here.  But 
though  it  is  difficult  to  get  it  strong,  it  is  easy  to  make 
It  weak.  The  dyer  therefore  must  accomodate  him- 
self to  the  state  of  the  country,  and  having  purchased 
his  nitric  acid,  let  him  reduce  it  to  1,25  or  once  and  a 
quarter  the  weight  of  water,  and  never  use  any  nitric 


129 


acid  of  any  other  strength.  To  try  this,  let  him  fill  a 
Florence  flask  up  to  some  certain  mark  in  the  neck 
with  rain  water,  and  in  a room  where  the  thermome- 
ter stands  at  from  60  to  65“  of  Fahrenheit,  let  him 
weigh  separately  the  flask  and  the  water  accurately; 
and  this  weight  of  the  flask  and  the  water  will  form  a 
perpetual  standard.  When  he  buys  his  aqua  fortis,  let 
him  fill  the  Florence  flask  up  to  the  same  height,  and 
weigh  it.  Suppose  the  flask  and  water  weighed  twenty 
ounces,  and  the  flask  weighed  two  ounces:  then  the 
water  would  weigh  eighteen  ounces.  Suppose  the  flask 
and  the  nitric  acid  weighed  twenty-eight  ounces,  then 
a bulk  of  nitric  acid  equal  to  the  water,  would  weigh 
twenty-six  ounces.  But  the  standard  I recommend  is 
twenty-two  and  a half  ounces,  that  is  eighteen  and  one- 
fourth  of  eighteen,  or  four  and  a half.  Then  pour  out 
your  strong  nitric  acid  and  add  a very  small  quantity 
of  water  at  a time,  till  your  acid  filled  up  to  the  mark 
in  the  flask  shall  weigh,  flask  and  all,  only  twenty-four 
and  a half  ounces.  However  troublesome  this  may  ap- 
pear, a little  practice  will  render  it  easy;  and  unifor- 
mity in  the  eomposition  is  so  essential,  that  it  will  well 
repay  the  trouble. 

To  one  pound  weight  of  nitric  acid  so  reduced  to 
1,25,  or  once  and  a quarter  the  weight  of  water,  put 
two  ounces  of  clean  sal  ammoniac  dissolved  in  half  a 
pint  of  water;  and  when  this  is  dissolved,  add  by  a 
very  few  grains  at  a time  two  ounces  of  granulated 
tin.  The  more  the  tin  crackles  in  bending  it  backward 
and  forward,  the  purer  it  is.  To  granulate  it,  melt  it, 
and  pour  it  when  melted,  through  some  twigs  into 

R 


130 


water.  If  it  dissolves  too  quickly  and  with  many  red 
vapours,  put  in  smaller  bits  at  a time;  conduct  the  so- 
lution  in  a cool  place,  and  set  the  glass  bottle  contain- 
ing the  composition  in  cold  water.  It  ought  to  take  a 
couple  of  days.  When  the  tin  is  all  dissolved,  add  to 
the  composition  a little  more  than  half  a pint  of  clean 
cold  rain  water:  so  that  the  pound  of  acid  thus  mixed 
and  diluted,  will  now  measure  one  quart  in  bulk.  But, 
before  the  acid  or  the  sal  ammoniac  be  used,  it  should 
be  tested,  to  detect  the  presence  of  iron,  by  means  of 
tincture  of  galls  and  prussiat  of  lime  or  of  potash.  If 
the  dyer  is  not  chemist  enough  for  this,  he  should  get 
a chemist  to  do  this  for  him;  for  aqua  fortis  often  con- 
tains iron,  which  will  infallibly  give  a dark  tinge  to 
the  scarlet.  In  like  manner,  the  water  used  by  a scar- 
let dyer  should  be  tried;  for  if  it  contain  either  iron,  or 
much  calcareous  salts,  the  scarlet  will  be  saddened. 
Generally,  mountain  streams  in  a siliceous  country, 
are  much  preferable. 

Again;  before  the  nitric  acid  or  aqua  fortis  be  used, 
it  should  be  tried,  not  only  for  iron,  but  as  it  almost 
always  contains  volatile  sulphureous  acid  and  muriatic 
acid,  the  former  at  least  ought  to  be  gotten  rid  of  by 
means  of  nitrat  of  barytes.  The  muriatic  acid  in  aqua 
fortis,  owing  to  the  saltpetre  used  being  generally  im- 
pure from  a mixture  of  common  salt,  is  not  of  so  much 
consequence.  But  it  can  easily  be  gotten  rid  of,  by 
nitrat  of  silver. 

I believe  the  preceding  observations  are  of  impor- 
tance to  the  perfection  of  the  colour;  and  upon  much 
reflection,  I am  satisfied  that  in  this  country  particu- 


13  if 

larly,  my  method  of  making  the  composition,  is  upon 
the  whole  preferable. 

I proceed  now  to  M.  Berthollet’s  method  of  dye- 
ing scarlet.  T.  C.) 

It  is  in  vain  to  expect  any  required  shade  from  the 
proportions  indicated  in  the  common  receipts;  for  the 
cochineal  varies  in  quality,  and  the  composition  is  lia- 
ble to  great  variety  in  strength,  but  by  means  of  trials 
in  the  small  way,  the  proportions  necessary  to  any  re- 
quired colour  may  easily  be  ascertained. 

The  scarlet  colour  is  dyed  at  twice;  the  first  part  of 
the  process  is  called  the  preparation,  (bouillon)  the 
second  the  colouring  or  finishing,  (la  rougie.) 

For  one  hundred  weight  (one  hundred  and  twelve 
pounds)  of  woollen  cloth,  throw  into  warm  water,  six 
pounds  and  three  quarters  of  pure  tartar  (cream  of 
tartar);  stir  the  bath  or  liquor  well;  then  add  ,551  or 
somewhat  better  than  half  a pound  of  cochineal  in  fine 
powder.  Stir  it  well;  then  add  five  pounds  and  a half 
of  a clear  solution  of  tin,  and  again  stir  the  liquor.  When 
the  whole  is  about  to  boil,  enter  the  cloth,  which  must 
be  turned  on  the  wince  with  great  rapidity  three  or 
four  times,  and  afterward  more  slowly.  After  thus 
turning  it  in  the  boiling  liquor  for  two  hours,  take  it 
out,  air  it,  and  wash  it  in  the  river. 

Empty  the  cauldron  to  prepare  the  bath  or  liquor 
for  the  finishing.  Heat  the  water,  and  when  near  boil- 
ing, throw  in  five  pounds  and  a half  of  pulverized  and 
sifted  cochineal;  it  must  be  well  mixed  and  stirred  in; 
when  you  leave  off  stirring,  and  a crust  appears  on 
top  of  the  liquor,  which  breaks  spontaneously  in  se- 


132 


veral  places,  then  pour  in  fifteen  pounds  and  a quarter 
of  the  composition.  If  the  liquor  should  then  boil  up 
to  the  edge  of  the  cauldron,  throw  in  some  cold 
water. 

The  composition  being  well  mixed,  the  cloth  is 
turned  into  the  bath,  taking  care  to  wince  it  rapidly 
for  three  or  four  turns;  then  more  gently,  but  still 
not  slowly,  in  the  liquor  during  an  hour,  keeping  it 
sunk  in  the  liquor  by  sticks  as  often  as  it  rises  up; 
take  it  out,  air  it,  cool,  wash  it,  and  dry  it. 

These  proportions  are  not  always  the  same;  the 
process  detailed  by  Hellot  is  somewhat  different  from 
the  above.  Some  dyers  never  take  the  cloth  perma- 
nently out  of  the  preparation  liquor,  but  merely  re- 
fresh it  with  the  necessary  quantity  of  cochineal  boiled 
apart,  and  with  the  due  proportion  of  the  composition. 
This  saves  time  and  fuel,  and  a good  colour  is  thus 
obtained. 

Generally  a bright  flame  colour  is  in  demand;  in 
which  case,  a little  fustic  or  turmeric  is  added  to  the 
preparation.  When  this  is  the  case,  it  can  be  disco- 
vered by  cutting  the  cloth,  the  inside  of  which  will 
show  marks  of  the  yellow  dye,  for  in  the  common 
process  the  cochineal  does  not  penetrate  quite  through 
the  cloth.  (I  have  no  doubt  about  the  preference  of 
quercitron  to  turmeric  or  fustic,  T.  C.) 

A tin  cauldron  or  boiler  is  to  be  preferred,  for  the 
acid  of  the  composition  is  apt  to  attack  the  copper  or 
brass.  But  owing  to  the  ease  with  which  tin  vessels 
are  melted,  copper  and  brass  are  frequently  used;  in 
which  case,  they  must  be  kept  scrupulously  clean,  the 


133 


, acid  liquor  must  be  turned  out  the  instant  it  is  done 
i with;  nor  must  the  cloth  touch  the  sides  of  the  vessel, 
1 for  which  purpose  net  work,  or  wicker  work  must  be 
I employed  inside  the  boiler.  (I  see  no  objection  to 
? tinned  copper.  T.  C ) 

f Scheffer  prescribes  for  the  preparation  bath,  one 
part  by  weight  of  the  composition  to  ten  parts  of 
cloth,  with  a tenth  also  of  starch,  and  a tenth  of  tartar. 
He  remarks  that  the  starch  serves  to  render  the  colour 
more  uniform.  He  recommends  to  throw  into  the 
water  when  it  boils  a quantity  of  cochineal  equal  to 
•jl^th  part  of  the  weight  of  the  cloth,  to  stir  it  well,  to 
boil  the  cloth  in  it,  and  then  cool  and  rince  it.  Then 
to  boil  it  in  the  finishing  bath  with  ^d  of  starch,  ith 
of  the  solution  of  tin  or  composition,  J^d  of  tartar,  and 
^th  of  cochineal.  The  proportion  of  composition  used 
by  Scheffer  is  much  less  than  that  used  by  Hellot,  but 
his  composition  contains  more  tin  than  Hellot’s. 

Pcerner  describes  three  principal  processes,  accord- 
ing to  the  shades  more  or  less  deep,  or  more  or  less 
orange,  which  you  wish  to  give  to  the  scarlet,  which 
consist  in  varying  the  quantities  of  composition  and 
of  tin,  and  of  adding  or  omitting  the  tartar  which  con- 
tributes to  the  yellow  or  flame  coloured  hue  of  the 
scarlet. 

For  the  purpose  of  conducting  the  scarlet  dye  pro- 
perly, and  to  be  able  to  vary  the  proeess  according  to 
the  shade  of  colour  required,  it  is  necessary  to  become 
acquainted  with  the  peculiar  effect  produced  by  each 
of  the  ingredients  employed. 

If  the  proportion  of  composition  be  too  small,  all  the 


134 


cochineal  will  not  be  taken  up,  and  the  water  in  the  batii 
will  be  coloured:  if  too  large,  it  reacts  on  the  colour  of 
the  cochineal,  dissolves  it,  and  renders  it  liable  to  be 
washed  out;  hence  the  colour  comes  out  weak  and 
faded.  But  if  the  cochineal  be  in  proportion  to  the  tin, 
the  colour  will  be  full  and  rich  when  they  are  used  plen- 
tifully.  The  tartar  gives  the  yellow  tinge  which  with 
the  crimson  of  the  cochineal  produces  the  flame  colour 
so  generally  in  demand. 

Although  it  be  true  that  a scarlet  colour  can  be 
dyed  at  one  operation,  and  although  for  small  quanti- 
ties of  cloth  and  light  shades,  this  may  be  desirable, 
yet  in  a large  way,  it  is  found  by  experience  most 
eligible  to  dye  the  cloth  at  two  processes,  namely,  a 
preparation  and  a finishing  (bouillon,  et  rougie.) 

If  the  yellow  tint  should  predominate  too  much,  it 
is  corrected  by  running  the  cloth  when  dyed  through 
hot  water;  this  effect  is  owing  to  some  small  propor- 
tion of  calcareous  salts  contained  in  the  water,  which 
if  perfectly  pure  would  not  alter  the  colour  at  all.  (If 
the  water  is  so  pure  as  not  to  produce  this  effect  of 
slightly  crimsoning  the  colour  when  too  yellow,  put 
about  half  an  ounce  or  an  ounce  at  the  utmost  of  pearl 
ash  into  a hundred  gallons  of  water,  which  will  ope- 
rate as  a corrective.  T.  C.) 

The  bath  or  liquor  is  seldom  worked  out  exactly; 
it  generally  contains  some  of  the  mordant  combined 
with  some  of  the  colouring  matters.  Nothing  but  ex- 
perience can  teach  how  far  these  remains  can  be  used, 
or  what  cloths  they  are  fit  to  give  a ground  to. 

Besides  the  tartar,  a yellow  tinge  or  flame  colour 


135 


can  be  given,  and  frugally  given,  by  dyeing  the  cloth 
in  an  old  bath  wherein  scarlet  has  been  dyed,  and 
which  is  not  used  up,  with  a quantity  of  fustic  or 
quercitron,  to  give  a yellow  ground;  and  then  pass 
the  cloth  through  the  preparation  and  finishing  as 
usual.  This  is  what  Bancroft  recommends:  but  how- 
ever reasonable  this  may  be,  it  is  not  yet  in  common 
practice. 

So  a bath  not  quite  spent  may  be  used  to  dye  a 
pomegranate  colour  with  fustic.  Then  refresh  the  bath 
with  a little  of  the  composition  and  cochineal,  in  the 
same  relative  proportions  as  for  scarlet. 

A little  more  fustic  with  some  tartar  and  composi- 
tion will  produce  a Capucin  colour,  and  various  tinges 
of  orange^  gold,  jonquill,  See.  according  to  the  propor- 
tions of  fustic,  composition  and  tartar  you  incline  to 
use:  these  colours  may  also  be  varied  with  a little 
madder;  in  this  way  rose  colours,  cherry  reds,  and  the 
varieties  of  red  and  yellow  may  be  produced. 

So  the  claret  gray  may  be  dyed  in  an  old  scarlet 
bath,  with  a few  pulverized  galls,  and  then  after  pass- 
ing the  cloth  through  it  the  usual  time,  adding  a mor- 
dant of  green  copperas.  For  light  and  delicate  colours, 
such  as  orange,  lobster,  lilac,  mallow,  cherry,  rose, 
they  are  better  dyed  at  once  in  one  bath  than  in  two. 
The  cloth  need  be  no  more  than  wetted  in  hot  water 
and  pressed  in  the  usual  manner,  then  entered  into 
the  bath,  without  being  first  passed  through  a mordant. 
The  colour  takes  more  slowly,  but  as  certainly.  So 
far  Berthollet. 

HomasseVs  Process.  To  employ  cochineal  in  dyeing. 


136 


it  is  absolutely  necessary  that  it  should  be  well  ground 
and  then  sifted  through  a fine  sieve:  all  the  particles 
that  do  not  pass  the  sieve,  are  found  at  the  close  of 
the  operation  undissolved,  and  without  having  parted 
with  their  colouring  matter. 

The  colour  produced  by  cochineal  with  alum  and 
tartar,  is  crimson.  The  wool  must  first  be  boiled  in 
the  mordant  of  alum  and  tartar,  (two  to  four  ounces 
of  alum  per  pound  of  wool,  according  to  the  fulness 
of  colour  required,  and  half  the  quantity  of  tartar, 
T.  C.)  then  rince  the  wool.  Have  ready  for  one  hundred 
pounds  of  wool,  a boiler  that  will  hold  fifty  buckets 
of  water;  when  the  water  boils,  put  in  an  ounce  of 
sifted  cocliineal  to  a pound  of  wool,  or  more  if  the 
colour  be  expected  very  deep.  Let  the  cochineal  boil 
ten  minutes,  and  then  stir  the  liquor,  and  enter  the 
wool,  which  must  be  worked  very  quickly  in  the 
liquor,  and  constantly  during  one  hour  and  a half; 
and  during  a quarter  of  an  hour  also,  even  after  all 
the  cochineal  seems  exhausted.  Then  take  out  the 
woollen,  wash  and  dry  it. 

Jiose  colours  are  dyed  the  same  way,  only  one  half 
or  one  quarter  of  the  cochineal  is  used,  and  from  one 
ounce  to  half  an  ounce  per  pound  of  wool,  of  the  scar- 
let or  tin  composition  is  added.  Some  dyers  dye  their 
rose  colours  thus:  they  take  of  alum  two  ounces, 
cream  of  tartar  one  ounce,  scarlet  composition  (solu- 
tion of  tin  that  is)  one  ounce,  sifted  cochineal  a quar- 
ter of  an  ounce,  for  each  pound  of  wool:  boil  the 
cochineal  for  a quarter  of  an  hour;  dissolve  in  a sepa- 
rate vessel  the  alum  and  tartar,  fo  which  when  dis- 


solved  add  the  composition,  stir  this  liquor  well,  and 
! then  add  it  to  the  cochineal  liquor,  and  enter  the 
goods,  which  must  be  worked  in  the  mixture  for  an 
hour  and  a half.  No  rose  colour  will  require  half  an 
i ounce  of  cochineal;  one  third  of  an  ounce,  if  good,  is 
the  fullest  proportion. 

As  to  Scarlets.  The  drugs  used  to  a specimen  of 
scarlet  can  easily  be  distinguished  by  the  magnifying 
glass,  however  united  the  colours  may  appear  to  the 
eye.  The  tint  of  the  cochineal,  the  madder,  the  tur- 
meric, are  all  separable  by  this  means. 

A good  and  true  scarlet  is  dyed  with  cochineal:  the 
false  scarlets  are  dyed  with  madder  and  turmeric.  (Or 
brazil,  brazilletto,  peach,  &c.  and  turmeric.  T.  C.)  The 
scarlets  usually  sold,  are  thus  dyed.  A boiler  or  caul- 
dron of  fifty  buckets  is  used  for  a hundred  pounds  of 
wool.  For  each  pound  of  wool,  there  are  employed 
two  ounces  of  cream  of  tartar,  two  ounces  of  scarlet 
composition,  one  quarter  of  an  ounce  of  madder,  one- 
eighth  of  an  ounce  of  turmeric,  and  one  quarter  of  an 
ounce  of  cochineal  sifted. 

Let  the  whole  boil  five  minutes  before  you  put  in 
the  cloth,  which  ought  to  be  well  moistened  in  hot 
water  and  pressed  as  usual.  Enter  the  goods  and  keep 
them  worked  in  the  liquor  as  rapidly  as  you  can,  for 
else  they  are  apt  to  be  spotted;  and  although  this  defect 
disappears  frequently  during  the  process,  it  is  better 
avoided.  In  this  mixed  liquor,  the  cloth  ought  to  be 
worked  for  two  hours  and  a half. 

The  woollen  yarn  or  cloth  is  now  raised  out  of  the 
bath,  drained  and  cooled.  The  boiler  is  emptied,  and 

S 


138 


charged  afresh  with  water,  which  is  made  to  boil;  then 
three  quarters  of  an  ounce  of  sifted  cochineal  per 
pound  of  wool,  is  thrown  in  and  the  cochineal  per- 
mitted to  boil  (being  stirred)  for  five  minutes;  then 
put  in  for  each  pound  of  wool  two  ounces  of  scarlet 
composition;  stir  it  well;  enter  the  yarn,  and  work  it 
till  the  colour  is  exhausted,  and  a few  minutes  longer. 
Some  dyers  (not  without  reason)  do  not  permit  this 
liquor  to  boil,  but  so  soon  as  the  cochineal  scum  ap- 
pears on  the  su  face,  they  throw  a little  cold  water  in; 
the  liquor  is  also  cooled  by  the  woollen  let  down  into 
it,  and  in  this  state  the  goods  are  worked  rapidly  and 
without  ceasing  in  the  cauldron,  till  the  heat  is  brought 
up,  and  the  goods  are  fully  dyed:  this  happens  in  ten 
minutes  or  a quarter  of  an  hour;  and  when  the  re- 
quired tinge  is  obtained  the  goods  are  taken  out,  for  a 
longer  continuance  in  a boiling  heat  would  detract 
from  the  vivacity  of  the  colour.  All  this  the  eye  can 
easily  discern  in  practice. 

In  this  bath  by  means  of  additional  turmeric,  Jubeb 
and  orange  colours  of  all  kinds  of  shades  may  be  dyed. 
But  in  regular  dye-houses,  these  colours  are  dyed 
thus:  To  the  finishing  bath  of  scarlet  already  used, 
add  by  way  of  refreshment,  two  ounces  of  cream  of 
tartar,  two  ounces  of  scarlet  composition,  and  two 
gros  (one  fourth  of  an  ounce)  of  cochineal  for  each 
pound  of  woollen;  also  one  eighth  of  an  ounce  of  tur- 
meric  and  one  quarter  of  an  ounce  of  madder.  Such  a 
bath  will  also  serve  exceedingly  well  for  fresh  cloth  for 
scarlet:  which  if  not  enough  in  quantity  for  a finish- 
ing, may  be  kept  even  a fortnight  or  three  weeks,  till 


139 


i others  come  round.  (But  not  in  a copper  or  brass 
j boiler.  T.  C.) 

( A dyer  who  would  acquire  reputation  for  his  scar- 
I lets,  even  if  he  has  but  a hundred  pounds  to  dye, 
1 should  dye  them  at  four  times,  giving  the  first  tweuty- 

!five  pounds,  a quarter  of  an  ounce  of  cochineal  per 
pound  in  addition  to  the  usual  quantity,  which  can  he 
distributed  by  subsequent  operations  through  the 
three  other  twenty- five  pounds,  that  come  in  succes- 
sion. When  dyed  in  the  finish,  wash  and  dry  the 
goods. 

The  process  of  the  London  dyers^  is  much  the  same 
as  the  French. 

To  each  pound  of  the  weaker  or  single  aqua  fortis, 
add  two  ounces  of  common  salt,  or  of  sal  ammoniac 
(the  last  is  the  best,  if  it  were  for  no  other  reason  than 
that  its  strength  is  uniform  under  the  same  weight, 
which  is  not  the  case  of  common  salt.  T.  C.)  then  add 
about  half  the  quantity  of  water  that  there  is  of  aqua 
fortis;  in  this  mixture  dissolve  two  ounces  of  granu- 
lated tin  very  slowly;  the  solution  ought  to  occupy 
three  days,  and  the  tin  dissolved  therein  will  be  about 
one  fourteenth  part  of  the  solution  in  weight.  Accord- 
ing to  the  depth  of  colour  required,  from  eighteen  to 
twenty- five  pounds  in  weight  of  this  composition  are 
used  to  a hundred  pounds  weight  of  cloth. 

In  the  first  boiling,  or  preparation,  two-thirds  of  the 
composition  are  used,  in  conjunction  with  eight 
pounds  of  crude  tartar  or  argol,  in  a vessel  of  block 
tin;  these  are  put  in  a sufficient  quantity  of  good 
water.  Hard  waters  that  contain  calcareous  salts,  sad- 


140 


den  the  colour,  and  produce  a rose-coloured  tint;  such 
water  should  be  previously  boiled  with  bran  (and  a 
little  alum,  T.  C.)  and  scummed  before  it  is  used.  Into 
this  water,  after  the  tartar  is  dissolved  and  the  propor- 
tion of  composition  put  in,  throw  six  or  eight  ounces 
of  powdered  and  sifted  cochineal,  then  enter  the  cloth 
when  the  liquor  is  nearly  ready  to  boil,  and  wince  it 
very  quickly  at  first,  and  afterwards  more  slowly 
while  the  liquor  continues  to  boil  for  an  hour  and  a 
half  or  two  hours.  Then  take  it  out,  drain  it  and  rincc 
it  in  clean  water;  but  not  with  repetitions.  The  cloth 
will  now  have  acquired  a flesh  colour,  and  will  be 
ready  for  the  second  or  dyeing  process. 

For  this  purpose  a tin  vessel  is  nearly  filled  with 
clean  water,  and  when  this  appears  about  ready  to 
boil,  five,  or  (if  a full  colour  is  wanted  and  twenty  to 
twenty-five  pounds  of  the  composition  are  intended 
to  be  used)  five  and  a half  pounds  of  powdered  and 
sifted  cochineal  are  put  into  the  water  and  stirred  for 
five  minutes,  when  the  remaining  two-thirds  of  the 
composition  is  also  thrown  in  and  the  whole  well 
stirred:  now  enter  the  flesh-coloured  cloth,  and  wince 
it  very  rapidly  for  five  or  ten  minutes,  in  order  that 
both  ends  may  receive  an  equal  portion  of  the  dye, 
after  which  it  may  be  turned  slowly  for  half  an  hour, 
or  during  ten  minutes  after  the  liquor  appears  ex- 
hausted of  colour.  It  is  then  to  be  taken  out,  rlnced 
and  dried. 

Fine  cloths  take  from  six  pounds  to  six  pounds  and 
a half  of  cochineal,  and  from  twenty-two  to  twenty- 
five  pounds  of  the  composition  prepared  as  above,  for 


141 


each  hundred  pounds  weight  of  cloth:  but  the  same 
quantity  of  coarse  goods  seldom  have  more  than  two 
pounds  and  three  quarters  to  three  pounds  of  cochi- 
neal bestowed  on  them. 

A false  scarlet  can  be  given  to  coarse  goods,  by 
grounding  them  with  alum  and  tartar,  and  madder, 
then  finishing  with  cochineal  and  brazil  or  brazilletto, 
with  the  composition  or  tin  mordant. 

Although  the  common  and  better  method  is  to  dye 
the  goods  at  twice,  first  in  the  preparation,  then  in  the 
finishing  or  dyeing  liquor,  they  may  be  djjed  in  case 
of  emergency,  at  once. 

(The  fault  of  the  preceding  process,  is,  that  we 
know  not  the  strength,  that  is,  the  specific  gravity  of 
single  aqua  fortis.  The  use  of  common  argol,  or  crude 
tartar,  instead  of  cream  of  tartar,  which  is  only  crude 
tartar  dissolved,  filtered  and  crystallized,  deserves  to  • 
be  folio w'ed.  T,  C.) 

The  process  1(7^.  C.)  would  recommend,  would 
be  the  preceding,  excepting  that  as  my  composition 
made  with  acid  of  1,25  and  diluted  with  an  equal 
weight  of  water  is  not  so  strong,  weight  for  weight, 
it  will  require  for  one  hundred  pounds  of  fine  cloth, 
twenty-five  or  thirty  pounds  weight  of  composition 
and  six  to  seven  pounds  of  sifted  cochineal. 

(I  am  persuaded  that  cochineal  may  be  saved,  first 
by  giving  the  cloth  a yellow  dye  of  fustic  or  quercitron 
in  the  preparation,  and  by  the  use  of  Brazil  wood, 
either  then  or  in  the  finishing.  T.  C.) 

The  colour  called  Barry  Red  is  made  with  half  the 
quantity  of  the  ingredients  of  scarlet  with  the  addition 


142 


of  two  ounces  of  alum  per  pound  of  woollen;  the  cloth 
is  dipped  three  times.  There  is  neither  tartar,  nor  any 
yellow  colour  employed. 

I would  not  be  doing  justice  to  the  subject  to  omit 
the  proposals  of  Dr.  Bancroft,  who  has  made  so  many 
experiments  on  this  subject.  But  as  they  have  not  yet 
received,  so  far  as  I know,  the  sanction  of  the  generality 
of  dye-houses,  I can  mention  them  merely  as  proposals 
and  experiments  undoubtedly  worth  trying,  but  not 
to  be  relied  on  till  they  have  been  tried.  If  they  suc- 
ceed, they  j^vill  no  doubt  greatly  diminish  the  expense 
of  this  expensive  dye. 

Take  three  pounds  of  muriatic  acid  or  spirit  of  salt, 
of  the  specific  gravity  1,16  (remember,  spirit  of  salt 
as  commonly  made,  contains  iron,  and  therefore  it 
ought  to  be  tried  with  this  view.  T.  C.)  put  to  it 
• about  eight  or  ten  ounces  of  granulated  tin;  for  the 
proportions  are  not  yet  precisely  ascertained;  add  by 
degrees  two  pounds  of  common  pellucid  oil  of  vitriol; 
the  solution  should  be  made  in  a capacious  glass  ves- 
sel. These  acids  gradually  and  slowly  mixed,  will  act 
upon  the  tin  in  the  common  temperature  of  the  atmo- 
sphere. This  solution  of  tin,  will  remain  undecom- 
posed and  transparent  for  years. 

For  one  hundred  pounds  weight  of  cloth,  use  in  the 
first  liquor  or  preparation,  in  a tin  boiler  with  a suffi- 
cient quantity  of  water,  eight  pounds  weight  of  this 
murio-sulphat  of  tin,  to  be  put  in  when  the  water  is 
about  to  boil.  Turn  the  cloth  in  this  bath  for  a quar- 
ter  of  an  hour;  then  take  it  out,  and  add  to  the  liquor 
four  pounds  of  sifted  cochineal,  and  two  pounds  and 


143 


a half  of  quercitron  bark  in  powder,  and  having  mixed 
them  well  for  five  minutes,  return  the  cloth  into  the 
liquor,  making  it  boil,  and  continue  the  operation  till 
the  colour  be  duly  raised,  and  the  dyeing  liquor  ex- 
hausted, which  will  be  the  case  in  about  fifteen  or 
twenty  minutes;  after  which  the  cloth  may  be  taken 
out  and  rinced  as  usual.  In  this  way  the  time,  labour, 
and  fuel  necessary  for  filling  and  heating  the  dyeing 
vessel  a second  time  will  be  saved;  the  operation  much 
more  speedily  finished  than  in  the  common  way;  and 
there  will  be  a saving  of  all  the  tartar,  as  well  as  of 
two-thirds  of  the  cost  of  the  spirit  (composition)  or 
nitro-muriat  of  tin  commonly  used;  which  for  dyeing 
one  hundred  pounds  of  wool  will  amount  to  ten  shil- 
lings sterling,  whereas  eight  pounds  of  the  murio- 
sulphat  of  tin  will  only  cost  about  three  shillings  ster- 
ling. (That  is  in  London  in  the  year  1812.)  There 
will  moreover  be  a saving  of  at  least  one-fourth  of  the 
cochineal  commonly  employed  (which  is  usually  com- 
puted at  one  ounce  for  every  pound  of  cloth)  and  the 
colour  will  certainly  be  not  inferior  to  that  which  is 
dyed  at  much  more  trouble  and  expense  in  the  ordi- 
nary way.  When  a rose  colour  is  wanted,  it  may  be 
readily  and  cheaply  dyed  in  this  way,  only  omitting 
the  quercitron  bark,  instead  of  the  complex  method 
now  practised,  of  first  producing  a scarlet,  and  then 
changing  it  to  a rose  by  the  volatile  alkali  contained 
in  stale  urine,  set  free  or  decomposed  by  potash  or 
lime.  Even  if  any  one  should  still  unwisely  choose  to 
continue  the  dyeing  of  scarlet  without  quercitron  bark, 
he  need  only  employ  the  usual  proportions  of  tartar 


144 


and  cochineal,  with  a suitable  quantity  of  the  murio- 
sulphat  of  tin,  which  while  it  costs  so  much  less,  will 
be  more  elFectual  than  the  dyers’  spirit. 

(Such  is  Dr.  Bancroft’s  proposal,  which  well  de- 
serves to  be  tried  here.  He  says,  it  has  been  tried  with 
success  by  many  dyers  in  Yorkshire  and  in  Lanca- 
shire. If  the  acid  does  not  act  too  much  on  the  cloth, 
this  will  turn  out  a great  improvement.  The  follovying 
additional  remarks  on  this  proposed  improvement, 
are  worth  consideration.  T.  C.) 

Several  hundreds  of  experiments,  says  Dr.  Ban- 
croft, vol.  i,  p.  361,  warrant  my  assertion  that  at  least 
one  fourth  of  the  cochineal  generally  employed  in  dye- 
ing scarlet,  may  be  saved  by  obtaining  so  much  yel- 
low as  is  necessary  to  compose  this  colour,  from 
quercitron  bark:  and  indeed  nothing  can  be  more  self 
evident,  than  that  such  an  effect  ought  cicteris  paribus 
to  result  necessarily  from  this  combination  of  different 
colouring  matters,  suited  to  produce  the  compound 
colour  in  question.  Let  it  be  remembered  that  the 
cochineal  crimson,  though  capable  of  being  changed 
by  the  acid  of  tartar  toward  the  yellow  hue  on  the  one 
hand,  is  also  capable  by  different  means,  of  being 
changed  towards  a blue  on  the  other,  and  of  thereby 
producing  a purple  without  the  aid  of  indigo,  or  any 
other  blue  colouring  matter.  Yet  I am  confident  that 
nobody  w’ould  believe  that  a pound  of  cochineal  so 
employed,  is  capable  alone  of  dyeing  as  much  cloth, 
of  any  particular  shade  of  purple,  as  might  be  dyed 
with  it,  if  the  whole  of  its  colouring  matter  were  em- 
ployed solely  in  furnishing  the  crimson  part  of  the 


I 


145 

purple,  whilst  the  blue  part  of  the  purple  was  obtain- 
ed from  indigo. 

To  say  that  a pound  of  cochineal  alone,  would  pro- 
duce as  much  effect  or  colour  as  a pound  of  cochi- 
neal and  a pound  of  indigo  together,  would  be  an  im- 
probability much  too  obvious  and  palpable  for  human 
belief;  and  there  would  be  a similar  improbability  in 
! alleging,  that  a pound  of  cochineal  employed  in 
giving  another  compound  colour  (scarlet)  could  alone 
produce  as  much  effect  as  a pound  of  cochineal  and  a 
pound  of  quercitron  bark,  when  the  colour  of  this  last 
was  employed  only  in  furnishing  one  of  the  com- 
ponent parts  of  the  scarlet,  for  which  a considerable 
portion  of  the  colouring  matter  of  the  cochineal  must 
otherwise  have  been  expended.  This  certainly  hap- 
pens in  the  new  mode  of  dyeing  scarlet  now  proposed, 
because  the  colour  produced  with  the  addition  of 
quercitron  yellow  inclines  no  more  toward  a yellow, 

I than  the  scarlet  produced  by  yellowing  a part  of  the 
: cochineal  colour  in  the  usual  method  with  tartar.  I 
retain  therefore  at  this  moment  as  much  confidence 
as  I ever  had,  in  the  reality  and  Importance  of  my 
proposed  improvements  in  this  respect. 

The  scarlet  composed  of  cochineal  crimson  and 
quercitron  yellow,  is  moreover  attended  with  this  ad- 
vantage, that  it  may  be  dyed  upon  wool  and  woollen 
yarn,  without  any  danger  of  its  being  changed  to  a rose 
or  a crimson  by  the  process  of  fulling,  as  always  hap- 
pens to  scarlet  dyed  in  the  usual  manner.  This  last 
being  in  fact  nothing  but  a crimson  or  rose  colour, 
yellowed  by  some  specific  action  of  the  acid  of  tartar  on 

T 


146 


the  cochineal,  is  liable  to  be  made  crimson  again  by 
the  application  of  many  chemical  agents,  which  readily 
overcome  the  changeable  yellow  produced  by  the  tar- 
tar, and  particularly  by  calcareous  earth,  soap,  alka- 
line salts,  &c.  But  where  the  cochineal  colouring 
matter  is  applied  and  fixed  merely  as  a crimson  or  rose 
colour,  and  is  rendered  scarlet  by  the  superaddition 
of  a very  permanent  quercitron  yellow,  capable  of  re- 
sisting the  strongest  acids  and  alkalies,  which  it  does 
when  dyed  with  solutions  of  tin,  no  such  change  can 
take  place;  because  the  cochineal  colour  having  never 
ceased  to  be  crimson,  cannot  be  rendered  more  so,  and 
therefore  cannot  suffer  by  those  impressions  or  appli- 
cations, which  frequently  change  or  spot  scarlets, 
dyed  according  to  the  present  practice. 

(I  refer  to  Bancroft,  vol.  i.  p.  353,  for  the  rest  of  his 
observations  on  the  scarlet  dye,  and  the  use  of  his  new 
invented  composition.  I cannot  help  thinking  how- 
ever, that  the  remarks  I have  just  copied,  are  so  obvi- 
ous and  reasonable,  that  it  is  almost  impossible  to 
refuse  assent  to  them;  and  I have  no  hesitation  what- 
ever in  recommending  the  rejection  of  tartar,  and  the 
employment  of  the  cheap  articles  of  weld,  fustic,  tur- 
meric, or  quercitron  (especially  the  last)  for  the  pur- 
pose of  yellowing  the  cochineal,  instead  of  that  ex- 
pensive drug  cochineal  itself.  I say  nothing  about 
substituting  the  murio-sulphat  of  tin,  for  the  nitro- 
muriat,  because  I have  no  experience  to  guide  me. 
T.  C.) 

The  following  processes  for  common  scarlet  and 
rose  colour,  are  from  Homassel. 


147 


Scarlet  Preparation.  Clean  out  the  boiler  with  great 
accuracy;  even  if  necessary  with  vitriolic  acid,  and 
afterwards  with  ashes.  Rince  it,  even  if  it  has  been 
well  cleaned  the  day  before.  Moisten  the  cloth  in  hot 
but  not  in  boiling  water.  Remember  that  all  cloths  pre- 
pared ivith  alum  or  alum  and  tartar  should  be  washed 
(read  for  washed,  rinced.  T.  C.)  before  they  are  dyed, 
nor  will  any  fine  colour  be  obtained  in  a bath  that  has 
served  for  an  alum  preparation.  Make  up  your  bath 
with  two  Ounces  of  cream  of  tartar,  a quarter  of  an 
ounce  of  madder,  the  eighth  of  an  ounce  of  turmeric 
and  a quarter  of  an  ounce  of  sifted  cochineal  for  each 
pound  of  woollen.  Boil  for  two  hours  and  a half,  then 
raise  the  woollen,  cool  it,  and  wash  it  at  the  river. 

Scarlet  Finishing  or  colouring  bath.  A fresh  bath 
well  cleaned  and  filled  with  water;  two  ounces  of  scar- 
let composition,  three  fourths  of  an  ounce  of  sifted 
cochineal;  let  the  liquor  boil  four  minutes;  cool  it  with 
some  cold  water  down  to  a scald;  enter  the  goods  and 
work  them  for  ten  minutes. 

Rose  Colour.  Preparation  bath  of  alum;  from  a quar- 
ter to  half  an  ounce  of  cochineal  per  pound,  according 
to  the  price;  one  ounce  of  scarlet  composition. 

Light  Crimson.  Preparation  bath  of  alum;  then  an 
ounce  of  cochineal  per  pound  of  cloth.  (As  to  the 
above  precaution  of  Homassel,  about  the  scrupulous 
washing  of  cloths  after  they  are  prepared  or  mordant- 
ed, I am  far  from  being  satisfied  that  it  is  a point  ab- 
solutely determined:  for  it  has  been  ascertained  that 
all  the  alum  may  be  washed  out.  If  the  crystallized 
lumps  only  be  washed  away,  it  is  an  improvement, 


148 


otherwise  not.  Bancroft  dyes  with  quercitron  without 
even  rincing  his  cloths  after  the  preparation  or  mor- 
dant. The  letting  the  cloths  remain  in  a damp  place 
after  preparing  them,  may  be  of  use  in  aiding  by  time, 
the  mutual  action  of  the  cloth  and  the  base  of  the 
mordant.  T.  C.) 

Of  the  Venetian  Scarlet^  or  the  scarlet  from  the 
Kermes  insect,  {Coccus  Ilicis.)  The  colouring  matter 
is  soluble  in  water  and  in  alcohol,  of  a deep  red  co- 
lour. To  dye  scarlet  with  this  substance,  more  solid, 
but  not  so  brilliant  as  the  cochineal  scarlet;  boil  your 
yarn  for  half  an  hour  in  bran  water,  then  for  two  hours 
in  a bath  composed  of  alum  one  fifth  of  the  weight  of 
the  yarn,  and  tartar  one  tenth,  or  half  as  much.  Put 
the  yarn  moist  as  it  is  but  not  wet,  in  a bag,  and  let 
it  lay  for  a week  in  a cool  under-ground  place.  Then 
prepare  a bath  of  water  that  should  not  exceed  a full 
scalding  heat,  or  150^  of  Fahrenheit’s  thermometer; 
for  Kermes,  like  madder,  at  a great  heat  gives  out  a 
yellow  colour;  put  to  this  warm  bath  a quantity  of 
kermes  equal  to  three-fourths  of  the  weight  of  the 
wool;  work  the  yarn  in  this  bath  for  an  hour;  rince  it; 
and  finish  in  a half  spent  scarlet  bath  for  a very  few 
minutes.  Cloth  will  not  require  so  much  either  of  the 
salts,  or  of  the  kermes  as  yarn,  by  one-fourth. 

Hellot  prescribes  to  dye  some  refuse  wool  for  a 
few  moments  first,  which  takes  up  a kind  of  black 
fecula,  after  which  the  wool  is  dyed  of  a brighter 
colour. 

In  my  opinion  the  process  would  be  improved  thus; 
put  to  the  preparation  bath  of  alum  and  tartar  mor- 


149 


dants,  one  twenty-fifth  of  the  weight  of  the  cloth  of 
quercitron  bark;  then  proceed  as  above,  and  when  the 
cloth  is  dyed,  run  it  through  warm  water  in  which 
you  have  previously  dissolved  a pound  of  white  soap 
to  about  fifty  pounds  weight  of  wool.  T.  C. 

The  half  scarlet,  is  dyed  with  alum  and  tartar  in 
the  preparation,  and  finished  in  a colour-bath  of  half 
madder  and  half  kermes,  at  150”  of  Fahrenheit.  It  may 
then  be  run  through  a half  spent  cochineal  vat. 

But  the  effect  of  acid  liquors  on  kermes  is  to  turn 
the  red  into  a cinnamon  colour,  so  that  it  must  not  be 
kept  in  the  scarlet  finishing  but  for  a minute  or  two. 
Indeed  if  my  proposal  of  giving  a slight  ground  of 
yellow  be  adopted,  the  safest  way  is  to  add  to  the 
kermes  bath,  a small  quantity  of  Brazil  or  cochineal. 

The  proper  colour  of  kermes  is  a blood  red,  much 
more  fast  than  any  colour  from  cochineal,  and  there- 
fore the  disuse  of  kermes  is  to  be  regretted.  T.  C. 

The  Scarlet  from  Stick  Lac.  This  is  a fast  colour 
not  used  alone,  but  employed  in  France  to  give  solidi- 
ty to  cochineal  colours.  The  stick  lac  contains  about 
one-sixth  of  colouring  matter.  A small  quantity  of  the 
lac  in  powder  is  thrown  into  the  sqarlet  finishing  bath, 
after  the  cochineal  has  been  boiled  and  the  bath  cool- 
ed; for  the  lac  will  not  bear  a very  hot  liquor.  I do 
not  find  however  that  its  efficacy  is  of  importance  suf- 
ficient to  bring  it  into  general  use.  It  is  used  to  dye 
morocco  leather,  but  for  this  purpose,  kermes  and 
cochineal  are  equally  used. 

Of  the  Reds  from  Brazil.,  Brazilletto,  Nicaragua, 
P each  and  Redwood.  These  are  seldom  employed  to 


150 


give  a red  colour  alone:  their  best  use  is  to  heighten 
and  give  brilliancy  to  madder  reds.  But  a crimson  red 
is  often  dyed  with  Brazil. 

For  this  purpose  make  a strong  decoction  of  rasped  i 
Brazil  wood  tied  up  in  a bag:  the  colour  is  faster  and 
not  weaker  for  the  decoction  being  old,  although  it 
puts  on  a kind  of  orange  colour. 

To  make  a decoction  of  Brazil,  put  the  rasped  or 
chipped  wood  into  a bag,  and  boil  it  for  three  hours: 
empty  your  coloured  liquor  into  another  vessel,  and 
pour  more  water  on  the  Brazil  wood,  with  one  third 
or  half  an  ounce  of  pearl  ash  in  this  last  liquor  to  each 
pound  of  the  wood:  boil  for  three  hours,  and  mix  the  i 
two  liquors  together:  if  this  decoction  be  kept  for  a ) 
month  it  is  not  the  worse. 

Cloths  or  yarn,  that  are  to  be  dyed  in  Brazil  or  ! 
Brazilletto,  should  not  have  a greater  proportion  of  ' 
tartar  to  alum  than  one  fourth  part,  for  the  acids  are  i 

apt  to  turn  the  colour  yellow.  T.  C. 

HomasseVs  process  is  this.  Woollen  cloth  one  hun- 
dred pounds;  alum  twenty-two  pounds;  gray  tartar 
eleven  pounds;  (which  is  twice  as  much  as  Hellot  or 
Berthollet  or  I would  recommend.)  Boil  the  cloth  two 
hours  and  a half;  you  may  keep  it  a long  time  in  a 
cellar  and  the  decoction  also;  (deposee  le  bouillon  un 
mois  a la  cave.) 

When  you  dye,  rince  the  cloth  at  the  river,  and  to 
thirty  buckets  of  water,  add  two  buckets  of  Brazil 
liquor,  which  has  been  made  for  a month:  dye  in  it 
thirty  pounds  of  woollen,  and  it  will  produce  a crim- 
son. The  second  thirty  pounds  run  through  the  same 


151 


finishing,  will  produce  a scarlet;  the  third  parcel  of 
thirty  pounds  will  also  be  scarlet.  Remember  to  add 
two  buckets  of  Brazil  liquor  to  the  bath  for  each 
thirty  pounds  of  cloth  or  yarn;  and  that  the  liquor 
must  never  boil.  The  scarlet  can  be  rosed  or  crim- 
soned by  running  it  through  warm  water,  containing 
a fourth  part  of  urine. 

The  liquor  must  be  scummed,  and  the  cloth  exa- 
mined while  it  is  dyeing,  by  wringing  out  one  end  of 
it;  for  the  colour  appears  two  or  three  shades  deeper 
when  wet,  than  dry.  The  dye  of  these  woods  is  ren- 
dered faster,  by  a small  quantity  of  galls. 

Of  Reds  from  Madder,  This  is  the  colouring  sub- 
stance principally  to  be  depended  on  for  permanent 
reds.  The  madder  commonly  used,  is  the  Zealand 
grapp,  or  as  we  call  it  crop  madder,  dried  and  ground. 
The  Smyrna  madder  roots,  are  confined  to  the  dyeing 
of  Turkey  or  Adrianople  red;  but  fresh  madder  roots 
give  a better  colour  than  the  Zealand  crop  madder; 
though  Berthollet  says  otherwise.  It  is  a root  that 
would  grow  and  indeed  does  grow  excellently  well 
in  Pennsylvania. 

Madder  is  a colouring  drug  so  important,  that  a 
knowledge  of  its  properties  is  indispensable  to  a dyer 
who  would  understand  his  business.  I shall  therefore 
give  an  account  of  madder,  chiefly  from  Mr.  Watt  of 
Birmingham. 

A.  Crop  madder  is  a drug  of  an  orange-brown  co- 
lour, in  powder,  not  coherent;  it  attracts  the 
moisture  of  the  air,  and  by  this  means  gradu- 
ally loses  its  properties  until  it  becomes 
spoiled. 


152 


B.  Water,  whether  hot  or  cold,  extracts  the  colour 

of  madder,  but  a considerable  quantity  is  re- 
quired for  this  purpose.  The  colouring  matter 
of  madder  consists  of  two  kinds,  a red  colour, 
and  a fawn  colour.  Cold  water  will  dissolve  the 
red  colour  and  leave  the  fawn  colour  unaffect- 
ed. According  to  the  experiments  of  Sir  H. 
Englefield,  two  ounces  of  madder  will  require 
five  pints  of  water  at  the  common  temperature 
to  extract  the  red  colour.  At  what  degree  of 
the  thermometer  the  fawm  colour  is  extricated, 
has  not  been  precisely  ascertained;  every  dyer 
knows  that  his  madder  bath  must  not  boil;  in 
my  opinion  the  heat  ought  not  to  exceed  from 
160°  to  170°  of  Fahrenheit,  otherwise  the  fawn 
or  brown  tint  will  predominate  too  much:  155° 
is  hot  enough. 

C.  When  the  watery  extract  is  slowly  evaporated  in 

an  open  vessel,  a pellicle  forms  at  the  surface, 
and  falls  down  to  the  bottom,  and  so  on,  till 
the  evaporation  ceases. 

D.  The  extract  thus  formed,  is  of  a dull  brown  co- 

lour: it  is  but  slightly  soluble  in  water,  to 
which  it  imparts  a brownish  tinge. 

E.  When  the  infusion  is  evaporated  in  an  open 

vessel  with  the  neck  so  high  that  the  vapours 
condense  and  fall  back,  pellicles  form  of  a 
deep  brown  colour,  easily  soluble  in  water, 
which  acquires  a brown  tinge. 

F.  Alum  put  into  the  red  watery  infusion,  forms  a 

deep  red  precipitate,  leaving  the  water  of  a 
yellowish  brown. 


153 


G.  Alkaline  carbonats  throw  down  a precipitate 

from  this  yellowish  brown  liquor,  of  a blood- 
red,  deeper  according  to  the  quantity  of  alum 
that  had  been  employed  at  first.  In  this  manner 
lakes  of  a blood-red  colour  can  be  obtained,  but 
not  to  equal  the  colour  of  cochineal.  As  an  oil 
colour  it  is  transparent,  but  in  water  opake. 

H.  If  a superabundance  of  alkali  be  employed,  the 

precipitate  is  dissolved  and  the  liquor  becomes 
red. 

I.  The  alkali  of  soda,  does  not  produce  so  fine  a 

colour  as  the  alkali  of  potash. 

K.  Calcareous  earth,  produces  a duller  colour  than 

the  alkalies. 

L.  A few  drops  of  alkali  in  the  water  of  B,  extracts 

much  colour  of  a brownish  red. 

From  this  slightly  alkaline  infusion, 

1.  Alum  throws  down  a deep  brown  lake. 

2.  Acids  added  to  this  liquor,  occasion  no  preci- 
pitate, but  change  the  infusion  to  a yellowish 
brown. 

3.  I'his  infusion  being  evaporated  to  dryness, 
forms  a gummy  extract,  which  dissolves  easily 
in  water. 

M.  If  the  infusion  B,  instead  of  being  alkaline,  be 

made  with  a few  drops  of  mineral  acid,  the 
colour  is  yellowish. 

1.  This  yellow  liquor  by  long  digestion  becomes 
of  a greenish  brown,  and  the  yellow  seems 
destroyed. 

2.  The  addition  of  an  alkali,  re-establishes  the 

U 


154 


red  colour,  and  then  by  evaporation,  an  extract 
is  obtained,  soluble  in  water. 

N.  If  in  the  water  used  for  the  infusion  B,  you  put 

carbonat  of  magnesia,  a blood-red  colour  is 
produced;  and  on  evaporation,  a deep  red  ex- 
tract is  procured,  soluble  in  water. 

1.  If  this  infusion  made  with  magnesia,  be  used 
as  an  ink  and  exposed  to  the  sun,  it  becomes 
yellow. 

2.  Alum  precipitates  from  this  infusion  a small 
quantity  of  ill  coloured  lake. 

3.  The  alkalies  produce  in  it  a deeper  colour  and 
more  fixed. 

O.  The  infusion  made  in  a solution  of  alum,  is  of 

an  orange  yellow.  This  infusion  being  pre- 
cipitated by  an  alkali,  gives  a red  lake  not  so 
good  as  F. 

P.  A solution  of  sugar  of  lead  added  to  the  infusion 

B,  forms  a reddish  brown  precipitate.  A solu- 
tion of  nitrat  of  mercury,  a brown  purple  pre- 
cipitate. A solution  of  sulphat  of  iron,  a lively 
brown  precipitate.  A solution  of  sulphat  of 
zinc  was  not  tried.  A solution  of  sulphat  of 
manganese,  a brown  purple  precipitate.  A so- 
lution of  nitro-muriat  of  tin  was  not  tried. 

Q.  The  infusion  B being  mixed  while  hot  with  an 

infusion  of  cochineal,  a precipitate  appeared  of 
a brownish  red  colour,  inclining  to  deep  pur- 
ple; the  quantity  of  this  precipitate  was  in- 
creased by  continuing  the  boiling;  it  did  not 
dissolve  easily  in  water. 


155 


1.  A sample  of  cloth  dipt  in  the  acetat  of  alumine 
or  printer’s  mordant,  and  then  dyed  in  this 
mixture,  took  a red  brown  colour,  which  after 
being  boiled  in  a solution  of  soap,  changed 
into  a tolerable  good  red. 

2.  The  solution  of  soap  was  of  a deep  red  colour, 
but  it  produced  a very  indifferent  tinge  on 
paper. 

The  preceding  facts  we  owe  chiefly  to  Mr.  Watt. 

Sir  Harry  Englefield’s  madder  lake,  is  thus  made; 
Put  two  ounces  of  madder  in  a bag,  press  it  and 
bruise  it  in  a china  or  porcelain  or  stone-ware  vessel, 
with  repeated  portions  of  cold  water  till  all  the  colour 
is  forced  out.  This  will  require  about  five  pints  of 
water.  The  madder  remaining  will  weigh  five  drachms, 
so  that  the  red  colouring  matter  in  two  ounces  of  mad- 
der will  weigh  nearly  eleven  drachms  (troy  weight.) 
Mix  all  the  coloured  liquors  together,  and  add  to  them 
a solution  of  one  ounce  and  a half  of  pearl  ashes,  and 
then  one  ounce  of  alum  in  solution.  Wash  the  preci- 
pitate well  with  warm  water,  and  dry  it  on  filtering 
paper  or  a chalk  stone. 

M.  Merime,  a painter,  has  made  several  interesting 
experiments  on  madder,  with  a view  of  improving  his 
own  art,  and  obtaining  a lake  which  should  combine 
solidity  with  brilliancy.  The  result  of  his  experiments 
which  may  be  of  use  to  the  dyer,  he  has  communi- 
cated to  us  (Messrs.  Berthollet.) 

He  separated  the  pellicle  which  serves  as  a kind  of 
bark  to  the  madder  root,  from  sap  and  from  the  woody 
part,  and  he  obtained  from  both  the  one  and  the  other 


156 


a lake  approaching  in  vivacity  to  carmine,  but  much 
more  solid,  after  he  had  submitted  them  to  washings 
which  separated  a substance  that  gave  a fawn  colour. 
The  woody  part  yielded  more  than  the  bark.  His  pro- 
cess after  the  preliminary  washings,  was,  to  keep  the 
madder  in  digestion  in  a slight  solution  of  alum:  after 
that  he  precipitated,  by  an  alkali,  this  coloured  alu- 
minous solution. 

Hence  it  appears  that  madder  must  be  considered 
as  consisting  of  two  different  substances,  one  fawn 
coloured,  the  other  red:  each  of  these  substances  may 
combine  with  the  stuff,  but  we  want  the  red  colour 
only.  The  fawn  coloured  part  seems  most  soluble  in 
water,  but  its  fixity  on  the  stuflP  may  be  augmented  by 
its  affinity  to  the  red  part. 

The  different  additions  which  we  make  to  the  mad- 
der, and  the  multiplied  processes  to  which  we  submit 
this  drug  on  some  occasions,  may  possibly  be  of  no 
other  service  than  to  separate  this  fawn  colour  from 
the  red. 

The  red  colouring  matter  of  madder,  seems  soluble 
in  water  in  small  quantity  only,  so  that  the  solution 
cannot  be  much  condensed:  if  the  proportion  of  this 
substance  be  much  increased,  we  increase,  also  in 
greater  proportion,  the  more  soluble  fawn  coloured 
part. 

The  solution  of  tin  gives  but  dead  colours  with 
madder.  It  revives  the  colour  of  the  Turkey  red  in- 
deed,  but  that  seems  to  be  in  a part  of  the  process 
when  all  the  fawn  colour  of  the  madder  is  washed 
away  during  the  process. 


157 


After  these  remarks  on  the  component  parts  of  this 
useful  drug,  I proceed  to  the  method  of  dyeing  with  it. 

The  cloth  or  wool  must  be  prepared  in  a mordant 
liquor  of  alum  and  tartar.  Every  dye  shop  has  its  own 
proportions.  Upon  the  principle  of  the  preceding  ex- 
periments, it  is  clear  that  all  acids  have  a tendency  to 
convert  the  red  of  madder  into  a brownish  yellow: 
and  experience  in  the  dye  house  confirms  the  theory. 
Therefore,  for  a moderately  full,  but  not  the  deepest 
red,  I prefer  (71  C.)  three  ounces  of  alum  and  one 
ounce  of  tartar  (red  or  white  appears  to  me  indiffe- 
rent) to  each  pound  of  wool  or  yarn  or  cloth.  The 
goods  should  be  boiled  in  this;  and  they  will  be  the 
better  for  being  left  for  a week  either  in  the  liquor,  or 
taken  cut  and  drained  and  left  in  an  underground 
room. 

For  the  finishing  or  colouring  bath,  use  three- 
fourths  of  a pound  of  madder,  one  ounce  of  galls,  and 
one  ounce  of  brazil  to  each  pound  of  woollen.  The 
bath  should  not  be  brought  beyond  a scalding  heat, 
that  is  140  or  145°  of  the  common  thermometer  of 
Fahrenheit.  I can  just  bear  my  hand  in  water  of  130®, 
but  a dyer  accustomed  to  warm  liquors  can  bear  ten 
degrees  more  of  heat.  At  this  heat  it  should  be  kept, 
and  the  cloth  winced  in  it  for  an  hour.  The  colour  is 
improved  by  a little  brazil  or  brazilletto  wood  in  the 
above  proportion,  but  the  hue  thus  given  is  fugitive. 
It  is  improved  too  by  the  use  of  a pound  of  white 
soap,  and  a couple  of  ounces  of  potash  in  the  water 
for  one  hundred  pounds  weight  of  wool,  to  rince  it  in 
after  it  is  dyed,  or  when  fulled.  For  a full  colour,  use 


158 


four  ounces  of  alum,  one  ounce  and  a half  of  tartar, 
and  eighteen  or  twenty  ounces  of  madder. 

It  is  not  found  that  the  scarlet  composition  (the 
nitro-muriat  of  tin)  does  any  good  to  the  colour, 
either  in  the  dyeing  or  after. 

Any  mixture  of  sour  water,  with  the  madder,  how- 
ever common,  does  no  good,  but  harm. 

The  great  value  of  madder,  is  chiefly  known  to  the 
cotton  dyer  and  callicoe  printer.  Archil  is  sometimes 
used  for  fugitive  reds,  but  as  it  never  ought  to  be 
used,  I omit  it  in  the  woollen  dye. 

Having  gone  through  the  scarlets,  crimsons,  rose 
colours  and  reds  on  woollen,  I proceed  to  the  colour 
next  in  similarity  as  a self-colour,  the  pink. 

Of  the  Dyeing  of  Pink  on  Woollens.  Carthamus, 
safflower,  or  bastard  saffron,  is  grown  in  Egypt,  in  the 
Levant,  in  Thuringia,  and  various  parts  of  Germany 
and  France,  and  might  be  grown  in  Pennsylvania  and 
the  southern  states.  It  contains  two  colours;  a dull 
yellow,  soluble  in  cold  water,  and  a pink  colour  solu- 
ble in  alkaline  salts.  It  is  seldom  used  on  woollen, 
because  colours  near  to  it  in  tint,  more  permanent  and 
equally  beautiful,  may  be  procured  by  cochineal,  and 
it  requires  the  woollen  to  be  as  white  as  possible,  in 
order  to  have  the  colour  in  its  utmost  brilliancy:  but 
as  a true  pink  can  no  otherwise  be  dyed,  I shall  give 
the  process  as  well  as  I can.  I have  repeatedly  dyed 
it  on  cotton,  but  never  on  woollen,  so  as  to  ascertain 
the  proper  proportions.  The  processes  for  dyeing  this 
colour  on  silk,  I shall  give  from  Macquer  and  Ho- 
massel,  but  the  following  transcript  of  my  own  notes, 


159 


will  contain  some  remarks  not  included  in  their  ac- 
count. What  the  English  call  a pink,  the  French  call 
a rose  colour. 

One  pound  of  woollen  bleached  as  white  as  possible, 
will  require  four  pounds  of  safflower  to  dye  it  a good 
pink. 

Let  the  safflower  be  put  into  a very  clean  and  strong 
linen  bag  that  will  hold  twelve  pounds.  In  this  bag, 
put  eight  pounds  of  safflower.  Let  a man  carry  it  to 
the  river  and  tramp  it  with  his  feet  in  the  current  for 
four  or  five  hours,  till  all  appearance  of  yellow  colour 
be  washed  away.  The  water  must  be  clear  and  soft. 
As  this  will  be  done  at  a dyer’s,  he  must  take  care 
and  wash  it  in  that  part  of  the  stream  that  is  above  the 
works.  The  man  should  have  a pole  to  rest  himself 
upon,  while  he  tramps  it. 

Or,  a trough  may  be  used  for  this  purpose,  through 
which  a current  of  pure  water  is  turned;  in  this  case 
two  cords  should  hang  from  the  beams  of  the  ceiling, 
by  which  the  man  can  take  hold,  and  support  his  body 
in  some  degree,  while  he  tramps  with  his  feet.  This  ope- 
ration might  be  contrived  to  take  place  by  means  of 
stampers  or  a fulling  mill,  but  I think  not  so  safely. 
One  man  can  thoroughly  wash  two  bags  of  eight 
pounds  each  in  one  day,  but  not  much  more. 

When  the  water  comes  away  clear,  empty  the  wash- 
ed safflower  into  a trough  lined  with  tin  or  lead,  or  any 
other  similar  vessel. 

Dissolve  for  sixteen  pounds  of  safflower,  two  pounds 
of  good  pearl  ash,  in  as  much  hot  water  as  will  serve 
to  make  the  safflower  into  a liquid  kind  of  paste:  skim 


160 


the  solution,  pour  it  off  clear  from  the  sediment;  and 
when  hardly  blood  warm,  pour  it  on  the  safflower,  and 
let  this  liquid  mass  remain  together  three  or  four 
hours. 

The  great  point  in  dyeing  pink,  is,  so  to  apportion 
your  alkali  to  the  safflower,  that  all  the  colour  may  be 
extracted,  but  no  more  alkali  used  than  is  absolutely 
necessary  for  the  purpose;  for  the  acid  necessary  t» 
saturate  an  over  proportion  of  alkali,  greatly  adds  to 
the  expense.  It  is  with  this  view  that  Berthollet  pre- 
scribes no  more  than  an  ounce  of  pearl  ash  to  the 
pound  of  safflower,  which  I am  persuaded  is  greatly 
too  little. 

Have  ready  a frame  of  wood,  on  which  is  tied  some 
clean,  strong,  white  callicoe  as  a filter:  the  frame 
should  rest  on  the  edges  of  the  vessel  wherein  you 
dye  your  goods:  the  callicoe  need  not  be  stretched 
very  tight;  if  it  sinks  in  the  middle,  so  much  the  bet- 
ter; on  this  filtering  frame  put  the  safflower  and  alkali, 
and  wash  it  well  with  as  much  water  as  will  be  neces- 
sary to  work  your  woollen  in. 

This  alkaline  liquor  of  safflower,  is  of  a yellowish 
colour,  and  requires  to  be  neutralized  with  an  acid. 
Of  acids,  lemon  juice  is  the  only  one  I know  of,  that 
brings  out  the  colour  in  full  perfection.  Next  to  that, 
is  cream  of  tartar;  next  to  that,  is  distilled  vinegar. 
Hence  it  becomes  an  object  of  importance  not  to  ex- 
ceed greatly  in  the  quantity  of  alkali,  or  to  put  in  your 
acid  at  random.  To  avoid  this,  attend  to  the  following 
directions,  that  I found  necessary  in  point  of  eco- 
nomy. 


161 


Lemon  juice  is  purchased  in  casks  in  the  West 
Indies. 

The  silk  dyers  use  a lichen  called  archil,  for  most 
of  their  fine  colours. 

Take  a pinch  of  archil,  add  to  it  some  boiling  water, 
and  a very  small  quantity  of  pearl  ash,  the  size  of  a 
garden  pea  for  instance,  just  to  turn  the  decoction  of 
archil  blue.  This  is  the  litmus  of  the  chemist. 

Dye  white  blotting  paper,  or  pieces  of  white  cotton 
or  linen  rags,  in  this  blue  liquor,  and  dry  them.  Keep 
them  by  you  as  tests  of  alkalescence  and  acidity. 

Suppose  you  have  sixteen  pounds  of  saiRower, 
(original  weight,)  then  you  will  have  to  saturate  two 
pounds  of  pearl  ash  with  lemon  juice.  Put  in  two 
quarts  of  lemon  juice,  by  a pint  at  a time,  on  account 
of  the  efiervescence  that  will  take  place.  When  the 
effervescence  is  over,  dip  a piece  of  rag  or  paper 
tinged  blue  with  archil  into  the  liquor;  if  the  colour 
does  not  change,  put  in  half  a pint  more  of  lemon 
juice;  try  it  again  after  stirring  it;  and  so  on,  adding 
acid  by  degrees  till  you  find  the  blue  colour  on  the 
paper  begin  to  turn  red.  Then  stop.  Just  at  this  point 
also,  all  effervescence  ceases  on  the  addition  of  fresh 
acid.  You  may  now  enter  your  goods  at  any  degree 
of  heat  from  60“  of  Fahrenheit’s  thermometer  to  90°. 
Work  them  in  the  liquor  till  all  the  colour  is  taken 
up,  and  the  liquor  in  the  vat  is  not  coloured  any 
longer.  Wring  the  wool,  wash  it  in  clean  water  and  dry 
it.  The  colour  is  improved  in  tint  by  running  it  again 
through  a water  slightly  acidulated  wdth  lemon  juice. 

If  the  colour  be  not  deep  enough,  as  when  full 

X 


162 


poppy  reds  are  required,  you  must  repeat  the  process 
with  a liquor  containing  the  colouring  matter  of  a 
pound  more  of  safflower  per  pound  of  woollen. 

Very  dilute  sulphuric  and  nitric  acids  are  also  used 
instead  of  lemon  juice,  but  the  colour  is  manifestly 
inferior. 

The  pink  dye  can  also  be  procured  by  soaking  pink 
rags  in  an  alkaline  liquor,  vvhich  may  be  treated  with 
lime  or  lemon  juice  as  above.  It  is  the  fecula  of  the 
carthamus  liquor,  precipitated  by  lemon  juice,  dried 
at  a very  gentle  heat,  and  when  dry,  ground  up  with 
fine  white  talc,  that  forms  the  basis  of  the  Spanish 
wool,  and  the  rouge  with  which  females  paint  their 
faces. 

Of  Red  mixed  w ith  Blue  Colours.  Violets,  Purples, 
Lilacs,  Colombines,  According  to  Hellot  and  Ber; 
thollet,  stuffs  dyed  scarlet,  take  a superadded  blue 
dye  unequally.  They  must  be  dyed  of  a light  or  sky 
blue  first.  Then  give  them  a mordant  or  preparation 
liquor  of  alum  and  tartar,  two  ounces  and  a half  of 
alum,  and  one  ounce  of  tartar;  work  them  in  this  for 
an  hour;  drain  them  and  cool  them;  then  run  them 
through  a dyeing  or  finishing  bath  of  cochineal,  from 
one  half  to  two-thirds  as  strong  as  you  want  it  for 
scarlet,  according  to  the  shade  of  purple  you  require. 
Violet  requires  not  so  deep  a blue  and  not  so  deep  a 
red  as  purple.  Frequently  these  colours  are  finished 
in  a scarlet  bath,  adding  to  the  bath  the  quantity  of 
tartar  and  of  cochineal  that  may  be  thought  neces- 
sary. 

Lilacs,  pidgeon’s  breast,  mallow,  &c.  are  usually 


t 


■I  , 163 

I passed  through  the  liquors  that  have  served  for  violets, 
adding  some  alum  and  tartar.  The  blue  ground  is 

I made  of  such  a tint,  and  the  cochineal  added  in  the 
finishing,  in  such  proportion  as  the  colour  requires. 

^ When  you  want  a reddish  shade,  as  for  peach  blos- 
I som,  add  a little  of  the  scarlet  composition  or  nitro- 
i muriat  of  tin. 

f When  you  want  a very  bright  tint,  though  you  may 
diminish  the  quantity  of  cochineal,  you  must  not  di- 
minish the  quantity  of  tartar. 

It  is  obvious  that  the  various  shades  required  may 
j be  obtained  by  slight  variations  of  the  blue  ground, 
( and  of  the  proportions  of  cochineal,  alum  and  tartar; 
also  by  using  brazil  or  madder,  or  a mixture  of  these, 
with  or  without  the  cochineal. 

Processes  of  Homassel  for  violets  and  purples. 

The  finest  tints  of  these  colours  can  only  be  made, 
by  means  of  a mordant  or  composition  of  bismuth  dis- 
solved in  the  nitric  acid.  To  make  this  solution,  pro- 
ceed thus.  Dissolve  gradually  in  the  strongest  nitric 
acid,  bismuth  carefully  reduced  to  a coarse  powder 
in  a mortar,  taking  care  that  there  be  no  dirt,  or  ex- 
traneous matter,  particularly  no  ferruginous  matter. 
Add  the  powdered  bismuth  by  degrees  to  the  nitric 
acid  to  the  amount  of  two  ounces  of  the  semi-metal 
to  a pound  of  the  acid:  (this  is  too  small  a proportion  by 
one  ounce  at  least,  T.  C.)  Add  no  water,  no  sal  am- 
moniac. When  all  is  dissolved,  pour  it  off  clear  into  a 
bottle  with  a glass  stopper.  Make  no  more  than  you 
want  to  use  at  a time,  for  it  is  very  apt  to  oxygenate 
by  exposure  to  air.  This  mordant  requires  no  alum 


164 


3r  tartar  to  the  cloth;  use  about  two  ounces  ot‘  this 
solution  in  water  to  the  pound  of  cloth,  and  for  bright 
colours,  about  half  an  ounce  of  cochineal  also  to  the 
pound. 

Common  Violet.  A blue-vat  ground;  then  a prepa- 
ration of  alum.  Dye  with  half  an  ounce  of  cochineal 
per  pound  of  wool. 

Another.  A light  blue  ground;  then  half  an  ounce  of 
cochineal,  and  two  ounces  of  solution  of  bismuth  per 
pound  of  woollen.  Boil  for  an  hour. 

light  Violet.  Half  an  ounce  of  cochineal  per  pound, 
after  a preparation  of  two  ounces  of  solution  of  bis- 
muth per  pound  of  woollen  for  half  an  hour;  without 
any  previous  blue  ground. 

Common  English  Process  for  Fast  Purple.  Alum, 
four  ounces,  tartar,  two  ounces,  as  the  mordant  or 
preparation  for  a pound  of  wool;  boil  for  an  hour  and 
a half;  drain,  cool  and  rince  the  cloth:  then  enter  it 
into  a finishing  or  dye  liquor  of  madder  three-fourths 
of  a pound,  red  wood  two  ounces  for  each  pound  of 
wool.  Do  not  let  the  liquor  exceed  the  heat  of  145® 
of  Fahrenheit’s  thermometer.  Wince  your  pieces  for 
an  hour.  Then  drain,  cool  and  rince  them,  and  give 
them  a single  dip  in  the  blue  vat. 

Common  Purple.  English.  For  each  pound  of  cloth 
use  a mordant  or  preparation  of  two  ounces  of  alum, 
one  ounce  of  tartar,  and  one-eighth  of  an  ounce  of 
blue  copperas;  boil  for  two  hours;  then  drain  and 
rince  the  cloth,  and  dye  it  in  a bath  of  six  ounces  of 
logwood  to  the  pound  of  woollen.  This  is  reddened 
by  alum,  and  blued  by  blue  copperas. 


r 


Claret.  Add  to  the  above  dye  liquor  half  an  ounce 
madder  and  one-fourth  of  an  ounce  brazilletto,  or 

(cam  wood,  or  red  wood,  per  pound  of  cloth. 

It  is  evident  that  with  cochineal,  kermes,  or  lac, 
the  colour  will  be  finer,  but  neither  so  cheap  or  so  fast 

tas  with  madder;  and  so  with  brazil  or  brazilletto. 

Of  the  various  shades  of  Black  -with  Red. — A grayish 
Red.  Homassel.  Nitrat  of  iron  (iron  dissolved  very  gra- 
I dually  in  aqua  fortis,  and  kept  close  stopped)  and  cochi- 
I neal.  All  grays  will  be  fast  colours,  if  they  are  dyed  with 
1 nitrat  of  iron  instead  of  sulphat  of  iron,  which  in  fast- 
ness and  brilliancy  is  far  inferior  to  the  nitrat. 

I Common  Grayish  Red.  Sulphat  of  iron  and  madder, 

‘ with  a little  red  wood. 

It  is  evident  that  these  colours  may  be  varied  ac- 
cording to  the  proportions  of  red  and  black,  and  the 
ingredients  used  for  each. 

Of  Yellow  Colours. — The  substances  that  dye  yellow 
on  woollen,  are  Weld,  Quercitron,  Fustic,  Turmeric. 
I say  nothing  about  the  Sarrette,  Sarratula,  or  Saw 
Wort,  the  Yellow  Broom,  the  Golden  Rod,  the  Ber- 
berry  Root,  the  Lombardy  Poplar,  the  Hiccory,  the 
Fenugreek,  the  Polygonum  Persicana  or  Arsesmart, 
and  a hundred  other  articles  that  may  be  used.  But  if 
a dyer  on  wool  can  be  supplied  with  Weld,  Fustic,  and 
Quercitron,  I do  not  think  he  stands  in  much  need  of 
any  other  drug.  Where  weld  cannot  be  had,  saw  w'ort 
and  golden  rod  come  near  it  in  point  of  colour. 

I have  mentioned  these  substances  and  their  general 
qualities  and  properties,  when  I noticed  the  various 
dyeing  drugs  at  the  beginning  of  this  work.  For  fur- 


166 

ther  information,  I refer  to  Dr.  Bancroft’s  book,  under 
the  respective  heads. 

Weld:  this  plant  is  used  for  bright  greenish  yellows, 
and  where  a fast  colour  is  required.  The  properties 
of  its  decoction  are  as  follow  (from  Berthollet.) 

First.  When  full  charged  with  colour,  it  is  of  a 
slightly  brownish  yellow;  when  diluted,  it  passes  to  a 
greenish  yellow. 

Second.  If  to  this  decoction  some  alkali  be  added, 
a small  ash  coloured  precipitate,  insoluble  in  alkalies, 
falls  down. 

Third.  Acids  render  the  colour  paler,  and  throw 
down  a precipitate  soluble  in  alkalies;  this  solution  of 
the  precipitate  is  of  a yellow,  bordering  upon  brown. 

Fourth.  Alum  forms  a yellowish  precipitate.  The 
supernatant  liquor  is  of  a lemon  colour.  If  an  alkali 
be  added  to  this  liquor,  a light  yellowish  precipitate 
is  formed,  but  the  liquor  remains  coloured. 

Fifth.  Common  salt  and  muriat  of  ammonia,  trouble 
the  liquor  and  render  the  colour  deeper.  By  degrees 
a yellowish  precipitate  is  formed,  and  the  supernatant 
liquor  is  of  a greenish  yellow. 

Sixth.  Solution  of  tin  produces  an  abundant  pre- 
cipitate of  a light  yellow  colour;  the  supernatant 
liquor  is  of  a brownish  yellow. 

Seventh.  Sulphat  of  iron  produces  an  abundant 
grayish  black  precipitate;  the  supernatant  liquor  is  of 
a brownish  colour. 

Eighth.  Sulphat  of  copper  forms  a greenish  brown 
precipitate,  and  the  supernatant  licjuor  is  a pale  green. 
(Copper,  that  is  verdigris  and  blue  vitriol  in  small 


167 


quantities,  agree  very  well  as  mordants  with  weld. 
T.  C.) 

Process  of  Dyeing  with  Weld,  by  Hellot.  Prepa- 
ration or  mordant  liquor.  Alum,  four  ounces,  tartar, 
one  ounce;  boil  the  usual  time;  about  an  hour  and  a 
half;  drain  the  cloth;  rince  it;  d}e  it  in  a bath  of  five 
pounds  of  weld  to  one  pound  of  cloth,  if  you  want  a 
full  colour.  (Hellot  goes  even  so  far  as  six  pounds  of 
weld,  w hich  I deem  two  pounds  too  much.  T.  C.) 

For  a lighter  yellow,  half  the  above  quantity  of 
ingredients. 

Other  French  dyers  use  half  the  quantity  of  tartar 
that  they  do  of  alum;  the  colour  is  brighter  for  it,  and 
the  tint  greener,  but  not  so  deep  with  equal  propor- 
tions of  w^tld.  The  colour  is  heightened  and  made 
fuller  by  the  addition  of  one  pound  of  whiting,  or 
pow'dered  chalk  in  the  dyeing  liquor  for  each  hundred 
pounds  weight  of  wool. 

For  lighter  shades,  it  is  better  to  use  fresh  prepara- 
tion and  dyeing  liquors,  diminishing  the  quantity  of 
ingredients  in  the  same  proportion,  than  to  use  the  old 
and  spent  baths  or  liquors;  in  this  latter  case,  the  co- 
lour is  never  so  bright:  but  they  may  do  for  drabs, 
olives,  and  browns  of  various  kinds. 

Common  salt,  and  ground  plaister  of  paris,  also 
make  the  colour  of  the  finishing  or  dye  liquor  deeper 
than  otherwise  it  would  be.  Tartar  weakens  it;  the 
salts  of  iron  convert  it  into  a brown.  The  vivacity  of 
the  colour  is  improved  by  the  tin  composition. 

On  Yellow  Colours,  by  Homassel.  Weld,  Broom, 
Yellow  Berries,  Fustic,  Chimney-soot,  Iron,  Birch 


168 


Bark,  Quercitron,  Turmeric,  Safflower,  Berberry,  are 
all  employed  to  produce  yellow  colours,  according  to 
circumstances.  But  in  dyeing  wool,  they  seldom  use 
any  thing  but  weld,  fustic,  soot,  turmeric,  and  fustet,  or 
young  fustic  (Venetian  sumach).  For  the  fresher  tints 
they  use  weld;  for  duller  yellows  and  Saxon  greens, 
the  yellow  woods;  for  golden  yellows,  weld  and  soot; 
or  better  still,  old  fustic  and  young  fustic.  Soot  serves 
to  give  a preliminary  tint,  or  ground  to  several  varie- 
ties of  yellows,  according  to  circumstances.  Turmeric, 
though  often  employed  in  scarlets  and  carnations,  is  so 
fugitive  in  the  sun  and  air,  that  it  is  unpleasant  to 
use  it. 

Weld  gives  a fast  and  beautiful  colour  for  yellows 
and  fast  greens.  The  method  of  dyeing  with  weld  is 
this.  Fill  a boiler  with  weld  as  full  as  you  can,  for  a ■ 
hundred  pounds  of  cloth  will  take  not  less  than  an 
equal  weight  of  weld,  and  for  very  deep  yellows  you 
require  four  times  as  much.  Before  the  weld  liquor 
boils,  you  must  dye  the  cloths  intended  for  light  and 
bright  yellows.  It  is  good  to  wash  them  first  at  the 
river,  to  detach  the  grosser  particles  of  alum  that 
merely  stick  to  the  cloth.  It  is  an  useful  precaution 
to  empty  into  another  boiler  as  much  of  the  dye  liquor 
as  is  necessary  to  dye  the  light  yellows,  for  the  alum 
washed  off  into  the  dye  liquor  will  injure  it  and  weaken  , 
it.  When  you  do  so,  you  need  not  let  this  dye  liquor  .ji 
for  the  light  yellows  boil  more  than  ten  minutes;  throw  ™ 
in  some  cold  water  to  bring  it  to  a scald,  and  dye  your 
cloth. 

When  the  weld  is  taken  out  of  the  first  boiler,  boil 


169 


it  again  in  another,  with  four  ounces  of  potash,  which 
has  the  property  of  extracting  all  the  colour  from  the 
weld;  when  the  weld  is  exhausted  take  it  out,  and  use 
this  second  boiling,  either  to  dye  fresh  goods,  qr  to 
strengthen  the  first  liquor. 

It  is  the  alum  and  tartar  that  give  fastness  to  the  weld 
colour.  (A  little  verdigris  is  an  improvement.  T.  C.) 
Weld  is  also  boiled  in  bags,  which  are  kept  down 
with  a heavy  cross  of  wood  till  the  colour  is  ex- 
tracted. 

Yellow  from  Fustic,  The  fustic  should  be  used  in 
chips  inclosed  in  a bag  that  they  may  not  tear  the 
cloth.  (No  wood  ought  to  be  used  at  all,  unless  ground 
or  rasped.  T.  C.)  In  a boiler  of  twenty-five  buckets 
of  water,  put  fifty  pounds  of  fustic,  which  you  boil 
for  three  hours.  (If  rasped,  two  hours  are  enough. 
T.  C.) 

Empty  the  liquor  into  a wooden  pipe  or  tun;  boil 
the  fustic  in  a second  liquor,  and  empty  this  also  into 
the  tun.  Never  let  any  dye  liquor  remain  with  the 
wood  in  your  boiler,  even  for  a quarter  of  an  hour,  for 
the  wood  is  apt  to  re-absorb  the  colour.  It  should  be 
laded  off  while  boiling,  and  strained  through  a wicker 
basket  with  a cloth.  For  like  reason,  take  care  that  you 
throw  no  wood  into  the  tun. 

The  finishing  liquor  or  dyeing  bath  of  fustic,  should 
be  used  not  later  than  two  or  three  days  after  it  is 
made,  for  it  is  apt  to  spoil. 

This  dye  is  used  also  for  Saxon  greens.  The  wool  is 
boiled  in  a preparation  of  two  ounces  of  alum  per 
pound  of  wool,  for  an  hour  and  a half.  You  add  to  the 

Y 


170 


same  water  liquor,  fustic,  and  Saxon  blue,  in  propor- 
tion to  the  shade  of  colour  you  require.  The  wood 
should  be  put  into  bags,  for  if  the  colour  inclines  too 
much  to  yellow,  they  can  be  easily  taken  out  in  time, 
and  replaced  if  needful.  (It  is  better  to  have  a separate 
fustic  liquor,  which  you  can  add  as  occasion  requires. 
T.  C.) 

For  a tolerably  full  Saxon  green,  use  four  ounces 
of  fustic,  and  one  ounce  of  the  solution  of  indigo;  you 
may  put  your  alum,  fustic,  and  indigo,  all  at  once  into 
the  liquor,  and  boil  your  woollen  in  it  for  two  hours 
or  two  hours  and  a half.  This  method  has  perfectly 
succeeded  with  me  (Homassel.)  The  cloth  should  be 
well  washed  after  the  operation. 

Of  Soot  in  yellow  colours.  Soot  is  so  far  from  being 
a despicable  ingredient  in  dyeing,  that  when  it  balls 
well  in  handling  it,  you  may  be  sure  it  will  give  out  an 
useful  colour.  The  colours  of  tapestry  borders  cannot 
receive  their  golden  tint  without  soot.  The  colour  of 
ozier  and  wicker  baskets  require  soot,  so  do  all  the 
landscape  colours  in  tapestry. 

Although  the  colour  produced  from  soot  is  very 
solid,  it  must  never  be  used  in  conjunction  with  the 
mineral  acids,  which  degrade  it. 

In  a boiler  of  thirty  buckets  of  water,  put  from  ten 
to  twenty  buckets  of  soot.  Boil  it  for  two  hours,  till 
the  soot  no  longer  rises  up  on  boiling:  fill  the  boiler 
with  water,  and  let  it  remain  for  an  hour,  that  the  soot 
may  subside.  In  this  liquor  pass  the  yellow  cloth  which 
has  been  already  dyed  with  three  or  four  pounds  of 
weld  to  one  pound  of  cloth.  The  colour  is  browned  in 


171 


proportion  as  the  cloth  is  permitted  to  remain  in  the 
liquor;  which  may  be  from  half  an  hour  to  two  hours, 
at  a pretty  high  degree  of  heat,  not  boiling. 

If  intended  for  browns,  wash  the  cloth  in  the  river, 
and  give  them  afterward  a tint  of  madder,  and  of  black, 
according  to  your  pattern.  Or  in  some  cases,  in  a fresh 
but  weak  indigo  vat,  when  you  want  it  for  green  flies, 
&c.  in  tapestry. 

(The  use  of  soot  is  too  little  known  in  England  and 
this  country;  but  it  is  of  more  use  as  it  seems  to  me 
in  drabs,  olives,  and  browns,  than  in  yellows.  T.  C.) 

Of  Turmeric  Yellow.  This  colour!  s so  fugitive  in 
the  sun,  that  it  flies  even  in  the  drying.  It  is  of  use 
almost  alone  in  scarlets  and  carnations;  where  the  ni- 
tric acid  contributes  to  fix  it. 

A tolerably  good  and  fast  yellow,  that  is,  one  that 
will  resist  the  sun  and  air  tolerably,  but  not  hot  water, 
can  be  given  by  turmeric  four  parts,  in  nitric  acid  ten 
parts  by  weight,  which  has  already  dissolved  one  part 
of  yellow  orpiment.  (I  do  not  understand  the  use  of 
the  orpiment.  Nitric  acid  alone  will  give  a yellow 
colour  to  all  animal  substances.  T.  C.) 

The  spirituous  tincture  of  turmeric  is  very  rich: 
but  it  is  used  for  muslin  and  silk  chiefly;  it  will  not 
do  for  woollen. 

English  Process  for  Yelloxo. — Preparation,  three 
ounces  of  alum,  and  one  ounce  of  tartar  ground  fine 
per  pound  of  woollen.  Boil  for  a couple  of  hours: 
drain,  cool,  and  rince  the  cloth:  then  dye  it  in  a bath 
made  of  fustic,  weld,  or  quercitron:  if  you  use  fustic, 
take  something  more  than  weight  for  weight  of  the 


iT2 


wool;  if  quercitron  bark,  take  one  third  the  weight;  or 
from  that  to  one  half;  if  weld,  use  three  pounds  of  it 
to  a pound  of  wool.  These  drugs  may  be  mixed  in 
any  proportion  you  choose,  as  fustic  with  weld,  or 
quercitron  with  either  of  them.  Weld  furnishes  upon 
the  whole  the  best  colour;  next  to  that,  quercitron 
bark;  which,  considering  its  richness  and  fastness  of 
colour,  is  upon  the  whole  the  cheapest  drug.  Mixed 
with  fustic,  quercitron  greatly  improves  the  colour. 

It  would  be  a saving  for  full  fast  yellows  to  use  two  i 
pounds  of  weld  and  a quarter  of  a pound  of  quer- 
citron. 

If  you  want  a bright  yellow  of  a greenish  cast,  use 
only  weld,  and  add  a quarter  of  an  ounce  per  pound  of 
blue  copperas  or  verdigris,  to  the  preparation.  Boil  in 
the  dye  colour  for  three  hours.  Increasing  the  tartar 
also  greens  the  tint  of  yellow. 

If  you  want  lighter  shades,  lessen  proportionably 
both  the  mordants  and  the  dye  stulFs. — If  a very  full 
colour,  increase  all  the  drugs  one  fourth. 

Dr,  Bancroft,  who  has  had  great  experience  of  dye- 
ing with  quercitron  bark,  prescribes  three  or  four 
ounces  of  alum  without  tartar,  as  the  mordant  for  a I 
pound  of  w'oollen.  Boil  the  cloth  in  it  a couple  of 
hours;  take  it  out,  drain  it,  but  do  not  rince  it:  then 
dye  it  in  a bath  of  quercitron  bark  of  an  equal  weight  M 
with  the  alum  used.  Then  at  the  close  of  the  dyeing, 
throw  in  a pound  of  whiting  for  a hundred  pounds  of 
wool. 

Another  yellow,  by  the  same.  For  one  hundred 
pounds  of  wool,  take  seven  or  eight  pounds  of  Dr. 


173 


Bancroft’s  murio-sulphat  of  tin  described  in  the  sec- 
tion of  scarlet;  add  to  it  in  the  preparation  bath,  five 
pounds  of  alum;  dye  with  ten  pounds  of  quercitron 
bark. 

If  a greenish  yellow  be  wanted,  use  tartar  for  the 
purpose,  thus;  take  for  one  hundred  pounds  of  wool, 
six  pounds  of  murio-sulphat  of  tin,  six  pounds  of 
alum,  four  pounds  of  tartar;  boil  in  this  preparation; 
dye  with  eight  pounds  of  quercitron  bark. 

The  bark  should  be  tied  up  in  a coarse  cotton  bag, 
that  will  hold  a third  more;  the  bag  should  have  a 
rope  to  it,  to  drag  it  backward  and  forward  in  the 
liquor  and  diffuse  the  colour. 

^ (I  am  fully  persuaded  that  the  proportion  of  quer- 
citron bark  prescribed  by  Dr.  Bancroft,  is  greatly  too 
small  for  a full  colour:  twice  the  quantity  he  pre- 
scribes would  not  be  too  much.  The  bark  he  used  for 
his  experiments,  consisted,  I dare  say,  of  selected 
samples.  T.  C.) 

Buff  Yellow.  Although  this  may  be  dyed  with  the 
usual  yellow  drugs,  it  can  be  better  and  faster  dyed 
by  means  of  iron  stain.  That  is,  by  staining  the  whole 
cloth  with  one  universal  iron  mould. 

For  fine  work.  Dip  your  cloth  in  water  impregnated 
with  a strong  solution  of  iron  slowly  made  in  aqua 
fortis  diluted  with  an  equal  quantity  of  water;  which 
when  made  must  be  used  in  a few  days  or  else  kept 
from  the  air.  It  will  require  two  gallons  for  one  hun- 
dred pounds  weight  of  cloth,  mixed  with  a sufficient 
quantity  of  warm  water.  Turn  the  cloth  in  it  for  a 
quarter  of  an  hour.  Drain  it:  then  run  it  through  sl 


174 


mixture  of  lime  water,  three  or  four  pecks  of  lime  to 
water  enough  to  turn  the  cloth  in;  or  instead  of  lime 
you  may  use  three  pounds  of  potash  to  the  same 
quantity  of  water:  then  expose  the  cloth  after  washing 
it  to  the  air  until  the  greenish  colour  turns  to  a buff. 
Then  repeat  these  alternate  dippings,  washings,  and 
airings,  till  the  colour  is  produced.  The  callicoe 
printers  use  lime  and  potash  alternately. 

For  common  goods,  dissolve  for  one  hundred 
pounds  of  woollen  twenty  pounds  of  green  copperas 
in  water,  then  work  the  goods  in  this  liquor  warm  for 
a quarter  of  an  hour:  then  in  a bath  either  of  lime 
water  or  potash.  Proceed  as  above,  always  airing  the 
goods  to  give  time  for  the  colour  to  become  buff,  after 
each  immersion  in  the  lime  or  the  potash  liquor. 

This  colour  diluted  is  a most  excellent  ground  for 
grays,  and  for  all  colours  in  which  gray  is  meant  to 
form  a part.  T.  C. 

Of  Yellow  with  Red.  This  combination  in  various 
proportions  gives  the  orange,  aurora,  marigold,  lobster, 
pomegranate,  and  other  similar  colours. 

It  is  useless  to  give  particular  proportions  for  shades 
so  various.  It  may  be  well  to  remark. 

First,  that  for  bright  and  lively  colours,  these  mix- 
tures may  be  made  followers  to  use  up  the  baths  or 
dye  liquors  of  scarlet,  crimson,  Brazil,  Brazilletto  and 
the  other  brighter  coloured  woods. 

Secondly,  for  fast  colours,  the  common  processes 
in  which  turmeric  is  used  for  the  yellow,  ought  abso- 
lutely to  be  rejected.  Weld,  quercitron  or  fustic  may 
be  used:  of  these  the  quercitron  is  the  cheapest  in 


i 


175 

I proportion  to  the  quantity  and  quality  of  the  colour, 
f and  really  deserves  very  nearly,  to  take  the  place  of 
all  other  yellows  in  dyeing  woollen. 

Thirdly,  tartar,  like  all  acids,  has  the  property  of 
yellowing  red  colours. 

Fourthly,  for  common  work,  alum  and  tartar,  with 
quercitron  and  madder,  may  be  used.  The  alum  about 
^ two  ounces  and  tartar  one  ounce  to  the  pound  of  wool-  ' 
[ len,  on  the  average. 

j Fifthly,  the  red  ought  to  be  dyed  first:  it  is  easier 
by  this  means  to  hit  the  required  tint,  than  if  the  red 
were  dyed  last. 

Sixthly,  if  you  dye  to  pattern,  dye  specimen  pieces 
first. 

The  adding  or  leaving  out  the  tartar,  the  addition 
I of  a minute  quantity  of  sulphat  of  iron  or  of  copper 
to  the  preparation  liquor,  will  vary  the  shades  greatly, 
where  colours  of  a saddened  tint  are  wanted. 

I insert  a few  varieties  from  Homassel. 

Orange  and  Aurora.  Scarlet  bath,  with  the  addition 
of  turmeric  (rather  of  weld  or  quercitron.  T.  C.) 

Mordore.  Preparation  of  alum:  dye-bath,  madder 
and  weld.  If  the  colour  should  be  too  lively,  sadden 
it  with  walnut  peel,  or  rind. 

Carmelite.  The  same,  but  with  a proportion  of 
walnut  rind. 

Wood  Colour.  Alum  bath:  walnut  peel  and  madder. 

Hazle.  Light  ground  of  walnut  peel:  then  alum  bath 
with  a small  quantity  of  madder.  Or  a light  dye  of 
scarlet  upon  walnut  peel  ground. 


176 


Of  Yellow  with  Black:  olives  and  drabs. 

Dark  Olive.  For  one  pound  of  woollen,  one  ounce 
of  green  copperas,  the  eighth  of  an  ounce  of  blue  cop- 
peras, two  ounces  of  alum:  boil  for  two  hours,  rince 
moderately:  then  enter  the  goods  into  a dye- bath  of 
six  ounces  of  fustic,  four  ounces  of  logwood,  and  two 
ounces  of  sumach:  boil  for  an  hour. 

Light  Olive.  For  one  pound  of  woollen,  one  ounce 
and  a half  of  alum,  half  an  ounce  of  green  copperas, 
the  eighth  of  an  ounce  of  blue  copperas:  dye  with  six 
ounces  fustic,  an  ounce  of  logwood  and  an  ounce  of 
sumach. 

In  the  back  country  of  Pennsylvania  they  dye  olive 
with  equal  pjirts  of  green  copperas  and  alum,  and 
equal  parts  of  black  oak  and  hickory  bark. 

Greenish  Olive.  For  a pound  of  woollen,  one  ounce 
of  green  copperas,  two  ounces  of  alum,  half  an  ounce 
of  blue  copperas.  The  dye  drugs  as  in  dark  olive. 

Bottle  Green.  Increase  the  proportion  of  green  and 
blue  copperas  and  of  logwood,  each  about  one  eighth. 
Or  dye  first  ih  walnut  peel,  then  in  Saxon  blue. 

Drab.  For  a pound  of  woollen,  take  two  ounces  of 
alum,  one  ounce  of  green  copperas:  dye  with  eight 
ounces  of  fustic,  and  two  of  sumach.  The  colour  will 
be  saddened  by  increasing  the  proportion  of  copperas 
and  sumacin  and  diminishing  the 'alum.  Sumach  gives 
a reddish  brown  tinge  with  alum,  though  its  natural 
colour  is  greenish. 

Forrest  Drab.  For  tw^enty  yards  of  fulled  cloth, 
your  cojW)er  being  filled  with  pure  w^ater,  put  in  one 
paiiful  o»  sumach,  one  pound  of  fustic,  half  a pail  of 


177 


aider  bark,  and  two  ounces  of  nut  galls,  well  pounded. 
Boil  them  together  three  hours.  Dip  your  cloth  half 
an  hour  and  then  cool  it;  repeat  this  twice  more,  but 
the  last  time  put  into  the  bath  about  an  ounce  of 
powdered  alum.  See  that  the  scum  is  taken  off  every 
time  you  dip. 

Take  out  the  cloth  and  add  a small  handful  of  cop- 
peras to  the  dye;  then  dip  the  cloth  half  an  hour;  take 
up  and  cool.  Thus  proceed  till  the  colour  desired  is 
obtained.  But  note  that  you  must  increase  the  quantity 
of  copperas  every  time  you  dip.  Rince  the  cloth  well 
when  dyed. 

By  adding  a little  yellow  oak,  hemlock  or  butter- 
nut bark,  and  boiling  it  well,  a cheap  and  good  brown 
colour  may  be  produced,  which  many  people  prefer 
for  common  use.  (Asa  Ellis.) 

Dark  Drab  Brown.  (From  the  same.)  For  twenty 
yards  of  fulled  cloth,  put  into  the  copper  half  a bushel 
of  hemlock  bark,  and  a peck  of  yellow  oak  bark,  or 
walnut  bark;  boil  them  till  the  strength  of  the  bark  is 
exhausted,  and  then  take  the  bark  out.  Dip  and  cool 
two  or  three  times,  as  in  laying  the  ground  of  other 
dyes;  then  raise  the  colour  with  copperas,  dipping  and 
cooling  until  it  becomes  as  dark  as  you  desire. 

Savoy  Brown.  To  each  pound  of  wool,  take  one 
ounce  and  a half  of  alum  and  half  an  ounce  of  tartar, 
dissolve  them,  and  boil  the  wool  in  this  mordant  for 
two  hours:  drain  it,  and  rince  it  to  take  off  superfluous 
alum:  dye  it  in  a bath  of  two  ounces  quercitron,  six 
ounces  fustic,  and  one  ounce  red- wood,  at  about  180“ 
of  Fahrenheit  for  an  hour  and  a half.  Wash  it  and  dry 

Z 


\ 


178 


it.  Refresh  the  alum  liquor  with  an  ounce  of  alum  per 
pound,  and  work  the  wool  in  it  for  half  an  hour;  drain, 
rince  slightly,  dye  in  a liquor  of  six  ounces  madder  to 
the  pound  of  wool,  entering  the  cloth  at  a blood  heat, 
and  keeping  the  madder  liquor  not  exceeding  160°  of 
Fahrenheit,  for  an  hour.  Drain,  and  wash  the  woollen. 

Then  make  a bath  of  two  ounces  of  logwood  and 
half  an  ounce  of  green  copperas  to  the  pound  of  wool- 
len, enter  the  goods  at  a boiling  heat,  and  continue 
them  an  hour.  The  shades  given  by  red-wood  and  log- 
wood will  not  stand  the  sun  and  air.  Nothing  but 
madder  gives  a fast  colour.  You  may  sadden  with 
sumach. 

Snuff  Brown.  To  each  pound  of  wool,  mordant  with 
an  ounce  of  green  copperas,  half  an  ounce  of  alum, 
and  half  an  ounce  of  tartar  in  the  usual  way:  rince 
moderately.  Dye  with  two  ounces  madder,  one  ounce 
red-wood,  four  ounces  fustic  and  two  ounces  sumach 
per  pound,  at  about  180°  of  Fahrenheit.  Take  out  the 
goods,  drain  and  wash  them.  A little  more  alum  will 
brighten  and  a little  more  copperas  sadden  the  colour. 
The  goods  may  be  dyed  first,  and  then  the  mordant 
put  in,  as  in  the  following  process. 

London  Brown.  For  each  pound  of  woollen,  boil 
two  ounces  madder,  two  ounces  red- wood,  four  ounces 
logwood,  and  as  much  sumach  for  an  hour;  then  enter 
the  goods  and  boil  for  an  hour.  Raise  the  goods  out 
of  the  liquor,  and  add  to  it  a solution  of  an  ounce  and 
a half  of  copperas  and  half  an  ounce  of  alum.  Enter 
the  goods  again,  and  work  them  till  the  required  co- 
lour  is  obtained. 


I 


179 


It  is  common  to  add  alkali  or  urine  to  heighten  the  ' 
colour,  but  I am  of  opinion  they  always  do  harm  by 
causing  the  colour  to  change  more  easily  in  the  air. 

All  these  colours  may  of  course  be  varied^  in  shade, 
by  slight  variations  in  the  proportion  of  ingredients 
, used.  For  this  no  particular  directions  can  be  given, 
nor  are  they  needed. 

I do  not  approve  of  dyeing  first  and  mordanting 
! afterwards,  so  much  as  the  contrary  practice;  but  it 
answers  better  on  woollen  than  cotton,  and  better 
where  the  quantity  of  mordant  is  small.  But  alternate 
dippings  are  best  where  a good  colour  is  wanted.  The 
most  durable  browns,  however,  are  those  dyed  with 
walnut  rind  and  madder,  or  sumach  and  madder: 
walnut  rind  deserves  great  attention. 

Brown^  JVankin,  Cinnamon^  Walnut  rind;  wal- 
i nut  peel;  the  green  external  shell  of  the  walnut,  is  the 
i substance  chiefly  used  for  dyeing  brown  or  fawn  co- 
lour. Sometimes  the  walnut  root  is  used,  which  has 
nearly  the  same  properties.  Sometimes  this  colour  is 
produced  by  alder  bark,  and  also  by  sumach.  The 
walnut  rind  is  the  best  and  most  convenient  substance, 
as  it  can  be  used  either  with  or  without  a mordant.  It 
is  the  better  for  being  gathered  and  kept  for  two  years 
before  it  be  used. 

Brown  from  walnut  rind.  Boil  in  water  for  half  an 
hour,  a sufficient  quantity  of  walnut  rind  to  produce 
the  colour  you  wish.  With  cloth,  begin  with  the 
deepest  colour,  with  yarn  begin  with  the  lightest.  The 
cloth  and  yarn  must  be  moist  with  hot  water  before 
you  enter  them  into  the  dye.  Add  walnut  rind  accord- 
ing as  you  find  the  bath  requires  it. 


180 


The  preparation  of  the  cloth  in  alum  water,  about 
two  ounces  to  the  pound,  makes  the  colour  take  more 
fully,  and  be  more  lively. 

The  addition  of  a small  quantity  of  green  copperas 
saddens  the  colour,  turning  it  to  a brownish  black. 
{Hellot. ) 

On  the  Brown  of  Walnut  Rind,  by  Homassel.  The 
outer  green  rind  or  peel  of  the  walnut,  is  employed 
only  for  fast  colours.  The  leaf  and  the  root  of  the  wal- 
nut have  the  same  properties  with  the  rind,  but  they 
are  not  so  rich  in  colour. 

In  the  season  when  this  fruit  is  beaten  off  the  trees, 
tun-casks  or  cisterns  must  be  filled  with  the  rind,  and 
then  the  vessels  filled  with  water.  They  may  thus  stay 
and  ferment  for  six  months  if  you  please,  or  even  for 
three  years;  but  the  vessels  must  alv/ays  be  kept  filled 
with  water;  and  the  walnut  peels  must  never  be  stirred; 
if  either  of  these  precautions  be  neglected,  worms  will 
breed  in  the  walnut  peel,  and  its  properties  will  be 
injured.  Mere  putrefaction  will  not  injure  the  colour. 

Carnation  colours,  whatever  be  their  delicacy  or 
their  force,  can  never  be  of  the  good  dye  (that  is  fast 
colours)  if  the  principal  brown  or  light  ground  be  not 
dyed  with  walnut  rind.  In  defect  of  this  ingredient,  a 
black  tint  must  be  used,  but  the  black  of  a light  shade 
is  of  the  false  tint  (fugitive.)  Now  whatever  the  skill 
of  the  workman  may  be  who  employs  this  fugitive  co- 
lour, he  can  gain  no  credit  by  it,  for  it  will  alter  be- 
fore it  has  received  the  last  finish. 

Carnation  colours,  as  they  are  called,  are  so  various, 
that  they  admit  of  twenty-five  thousand  shades:  hence 


I 


181 


some  idea  may  be  formed  of  the  immense  consump- 
tion, as  a dyeing  ingredient,  of  walnut  rind. 

The  method  of  using  walnut  rind,  is  this.  To  thirty 
I buckets  of  water  in  a boiler,  put  ten  or  ttvelve  buckets 
' of  walnut  rind  or  peel,  which  should  be  boiled  for 
I three  hours.  Lade  out  the  walnut  peel  into  baskets 
' that  they  may  drain,  and  then  throw  them  away.  Fill 
the  boiler  to  the  top,  and  keep  a gentle  fire  under  it 
so  as  to  keep  the  liquor  below  a boiling  heat.  This 
heat  causes  a thick  oily  scum  to  rise,  and  at  the  mo- 
ment when  this  is  about  to  separate  by  the  boiling  of 
the  water,  let  it  be  scummed  off  very  clear,  so  that 
not  a trace  of  it  remains;  for  if  this  be  not  done,  there 
will  be  spots  on  the  cloth  that  cannot  be  effaced.  The 
cloths  may  be  entered  without  being  wetted,  and 
without  any  aluminous  mordant  as  a preparation.  (But 
I the  colour  is  improved  by  such  an  aluminous  prepara- 
i lion.  T.  C.) 

The  woollen  cloth  and  yarn  intended  for  browm  or 
fawn  colour,  may  be  worked  in  this  walnut  liquor,  till 
they  have  acquired  the  wished  for  tint.  This  bath  is 
excellent  for  bottle  greens,  and  other  brown  mixtures 
of  Saxon  greens.  After  having  produced  browns  of 
this  description,  the  same  bath  or  liquor  is  excellent 
also  as  a ground  for  many  other  colours,  as  hazle, 
flesh  colour,  Paris  mud,  fast  gray,  &c.  &c. 

A skilful  dyer  may  finish  all  the  colours  that  have 
been  previously  grounded  with  walnut,  at  a very 
little  expense. 

To  finish  common  browns  grounded  with  walnut 
rind,  after  washing  them  at  the  river,  run  them 


182 


through  a hot  alum  preparation  (of  an  ounce  to  the 
pound  of  wool,  T.  C.)  and  then  finish  with  a small  V 
quantity  of  madder:  (about  two  ounces  to  the  pound 
of  cloth.  T.  C.)  ; 

The  colour  thus  produced  with  walnut  rind  and 
madder,  is  unalterable,  and  resists  all  proof.  The  hazle 
colour,  dyed  in  the  same  way,  is  as  solid  as  the 
brown. 

Flesh  Colours,  are  finished  with  a small  quantity  of 
madder  in  a scarlet  vat  nearly  worked  out.  -i* 

Paris  mud,  is  finished  with  a little  logwood  andH 
copperas;  but  if  the  colour  be  required  to  stand,  it  n 
must  be  finished  with  a small  quantity  of  nitrat  of« 
iron,  and  galls.  (Nitric  acid  is  so  dear  in  this  country,® 
that  nitrat  of  iron,  though  excellent,  can  seldom  be  tl 
used.  T.  C.)  I 

Grays  intended  to  be  fast,  must  be  finished  in  the';^ 
same  manner. 

Amiens  Gray,  is  finished  with  a solution  of  indigo®; 
prepared  with  Spanish  white.  (Les  grisd’Amiensavec® 
un  dissolution  d’indigo  preparee  au  blanc  d’Espagne:,* 
I do  not  understand  this:  blanc  d’Espagne  or  Spanish® 
white,  is  nothing  but  a very  finely  washed  whiting, 
which  may  be  of  use  to  take  off  the  superfluous  quan- 
tity of  sulphuric  acid,  but  common  whiting  would  j 
ansM^er  this  purpose.  T.  C.)  i j 

American  Gray,  is  finished  in  the  same  manner,  ; 
with  the  addition  of  a soot  bath.  In  a word,  walnut 
rind  or  husk,  and  soot,  are  of  such  extensive  and  in- 
dispensable use  in  the  practice  of  dyeing,  that  I may 
venture  to  say  (says  Homassel)  without  exaggeration, 


183 


that  these  colours  are  to  the  dyer,  what  the  founda- 
tions of  a building  are  to  the  mason,  who  means  to 
erect  upon  them  the  most  beautiful  structures. 

Of  Sumach  for  the  Browns.  (Hellot.)  This  drug  is 
used  much  in  the  same  manner  as  the  walnut  rind,  but 
its  colour  is  not  so  deep,  and  is  somewhat  greenish. 
It  is  of  a brown  colour  when  used  with  alum.  It  is  an 
astringent  substance,  and  is  used  as  a substitute  for 
galls,  but  it  requires  a great  deal  more  in  quantity. 
The  colour  of  sumach  is  solid  and  permanent.  It  may 
be  mixed  with  galls,  or  alder  bark,  or  walnut  rind,  or 
all  of  them,  in  the  production  of  browns  and  fawn  co- 
lours; the  various  hues  of  these  colours  must  be 
judged  of  by  the  eye,  but  they  are  not  difficult  to 
manage. 

Of  Sumach.  (Berthollet.)  Rhus  coriaria,  a shrub 
grown  in  Syria,  Palestine,  Spain  and  Portugal.  The 
shoots  are  cut  to  the  roots;  they  are  then  dried,  and 
ground  in  a mill  for  the  use  of  dyers  and  tanners. 
The  sumach  cultivated  near  Montpelier  is  called 
rondou  or  redoul.  Bancroft  says  the  Pennsylvania  su- 
mach is  the  rhus  glabrum:  but  almost  all  the  kinds 
grow  here. 

The  infusion  of  sumach,  which  is  of  a greenish 
fawn  colour,  becomes  brown  on  exposure  to  the  air. 
When  fresh,  potash  produces  but  little  change  in  it; 
acids  brighten  and  weaken  the  colour;  solution  of 
alum  produces  a precipitate  not  abundant;  the  super- 
natant liquor  is  yellow. 

Sugar  of  lead  produces  an  abundant  yellow-brown 
precipitate,  brown  at  the  top;  the  supernatant  liquor 
is  a light  yellow. 


184 


Sulphat  of  copper  gives  an  abundant  precipitate  of 
a greenish  yellow,  which  after  some  hours  is  changed 
into  a greenish  brown;  the  supernatant  liquor  is  clear 
but  slightly  yellow. 

Common  sulphat  of  zinc  (which  always  contains 
iron,  T.  C.)  muddies  and  blackens  the  liquor;  a deepr  : 
blue  precipitate  is  deposited.  Pure  sulphat  of  zinc^ 
deepens  the  colour,  and  gives  a fawn  coloured  brownish 
precipitate. 

Common  salt  produces  at  first  no  sensible  change, 
but  after  some  hours  the  liquor  becomes  troubled, 
and  the  colour  lighter. 

Sumach  acts  upon  a solution  of  silver,  just  as  galls 
do,  and  the  reduction  of  the  metal  is  promoted  by  the 
action  of  light. 

By  itself,  sumach  affords  a greenish  fawn  colour;  but 
it  gives  several  shades  on  cotton  according  to  the  mor- 
dant used.  Thus  as  we  have  already  said,  with  con- 
centrated acetat  of  iron,  it  gives  a black;  with  diluted 
acetat  of  iron  various  shades  of  gray.  With  acetat  of^ 
alumine,  a yellow  with  a tint  of  green,  very  fast;  so 
that  in  a pattern  the  gray,  yellow,  brown,  and  black 
may  all  be  produced  by  raising  in  sumach. 

To  dye  doth,  or  woollen  yarn  with  this  drug,  heat 
the  water  to  about  50^  of  Reaumur,  145°  of  Fahren- 
heit; throw  in  the  sumach,  enter  the  goods  and  work 
them  for  fifteen  or  twenty  minutes,  raising  the  heat  a 
little.  If  the  heat  be  too  much  raised,  or  the  goods 
kept  in  too  long,  the  colour  is  weakened  instead  of 
being  deepened;  and  those  that  have  been  prepared 
with  iron,  in  a short  time  lose  their  colour  altogether. 


185 


This  effect  may  be  observed,  but  in  a less  marked 
manner,  in  several  other  dyes,  which  require  the  goods 
to  be  taken  out  the  instant  the  required  colour  is  ob- 
tained. Also,  for  the  purpose  of  dyeing  evenly,  but  a 
few  pieces  should  be  dyed  together  at  a time.  (Ber- 
thollet.) 

Alder  or  owler  bark  for  browns.  This  substance 
is  more  used  than  spoken  of.  It  is,  like  sumach,  an  as- 
tringent, and  gives  out  a brown  colour,  which  .with 
an  alum  mordant  is  good  and  fast.  With  copperas  of 
iron,  it  gives  a brownish  black;  and  when  diluted,  a 
mud  colour.'  The  cotton  dyers  use  it  more  than  the 
dyers  on  woollen,  but  it  is  a drug  of  considerable 
value,  from  its  cheapness,  and  the  permanence  of  the 
colour  it  affords.  When  sumach  is  scarce  it  supplies 
its  place. 

As  walnut  peel,  sumach,  alder  bark,  and  soot,  each 
give  a different  shade  of  brown,  the  colours  of  which 
brown  is  the  basis  may  be  varied  at  pleasure,  with 
these  dyeing  ingredients  and  different  proportions  of 
alum  and  green  copperas,  with  or  without  madder.  If 
in  lieu  of  madder,  quercitron,  weld,  or  fustic  be  used, 
you  get  the  different  tints  of  drab;  and  with  a shade  of 
blue,  olive,  bottle  greens,  goose  dung  greens.  See. 
Walnut,  sumach,  alder  and  soot  are  all  fast  colours, 
and  calculated  to  do  credit  to  the  dyer. 

Every  dyer  should  keep  by  him  a specimen  of  every 
colour  he  dyes,  with  the  ingredients  and  the  propor- 
tions; these  should  be  pasted  or  sewed  in  a book, 
having  a book  for  each  class  of  colours;  he  may  then 
know  at  any  distance  of  time,  the  ingredients  neces- 

2 A 


,1 


186 

sary,  with  their  proportions,  for  any  particular  shade 
of  colour.  In  this  way,  he  will  never  be  at  a loss  toH 
dye  to  pattern,  which  otherwise  he  can  never  be  surejil 
of  without  previous  trials,  which  always  occasion  waste™ 
of  time.  M 

The  false  dye,  or  fugitive  shades  of  brown,  areM 
made  with  red  saunders,  or  some  of  the  red  woods,  in9 
lieu  of  madder.  The  fugitive  and  cheap  bottle  greens,  ™ 
have  their  blue  tinge  given,  either  by  the  solution  of^; 
indigo  in  sulphuric  acid,  or  by  logwood  and  blue  cop-  p 
peras.  It  is  in  some  cases  desirable  to  use  these  for  I 
cheapness,  but  I am  well  persuaded,  it  is  not  the  per- 
manent interest  of  a dyer  to  do  so.  I shall  give  some 
of  these  processes  immediately.  | 

Yellow  and  Brown  with  Blue.  Fast  Green.  Dip  the  ^ 
cloth  in  the  blue  vat,  giving  the  shade  of  blue  you  re-  ^ 
quire;  either  the  pastel  vat  or  the  indigo  vat  will  pro- 
duce  a fast  colour;  drain,  open,  and  air  the  cloth  till  it 
acquires  the  blue  colour  from  the  air:  then  wash  it  .^ 
well,  but  not  before:  for  if  the  cloth  be  washed  before  iR. 
it  be  hlue^  the  indigo  will  wash  out. 

Proceed  to  give  a yellow  dye,  with  the  usual  mor-'W! 
dants  of  alum  and  tartar  for  the  preparation;  the  quan-  S' 
tity  of  these  salts  may  be  less  for  a green  than  for  a® 
yellow;  so  may  the  quantity  of  weld  or  quercitron,® 
using  them  however  in  the  same  relative  proportions  v 
as  for  yellows;  thus,  if  for  cloth  intended  to  be  a full  ■' 
yellow,  you  use  three  ounces  of  alum,  and  one  of  tar- 
tar, or  for  the  deepest  yellow  four  ounces  of  alum  and 
two  of  tartar,  with  from  three  to  four  pounds  of  weld 
per  pound  of  woollen,  a green  will  seldom  require 


more  than  half  the  quantity.  Quercitron,  according  to 
Dr.  Bancroft,  is  used  in  more  than  a full  proportion, 
when  it  amounts  to  double  the  weight  of  alum  em- 
ployed; but  as  I have  said  before,  I think  he  gives 
more  credit  to  his  patent  drug  in  this  respect  than  it 
deserves. 

No  blue  is  a fast  colour  but  that  from  the  woad 
f (pastel)  vat,  or  from  the  indigo  vat:  nor  is  any  yellow 
I fast,  but  that  from  weld  or  quercitron:  that  is  of  the 
drugs  in  common  use;  I believe  the  hickory  and  the 
barberry  root  give  out  very  fast  and  bright  yellows. 

I Fustic  is  so  cheap  that  it  is  commonly  employed,  but 
it  ought  not  to  be  used  for  fine  cloths. 

Most  dyers,  dye  both  their  shades  of  blue  and  of 
yellow  at  two  dippings  each,  beginning  with  the 
deepest  shade;  in  this  case  the  cloth  need  not  be  long 
in  the  dye-copper. 

It  is  common,  in  a regular  dye-house,  to  dye  cloths 
a succession  of  shades,  which,  where  there  is  much 
business,  is  convenient. 

For  clear  and  light  colours,  the  yellow- copper  ought 
not  to  boil. 

Greens  may  be  saddened  with  a little  copperas  of 
iron,  either  with  or  without  an  additional  astringent 
of  galls  or  sumach. 

The  blue  should  be  dyed  first,  whether  the  blue  vat 
be  used,  or  the  sulphat  of  indigo:  for  the  yellow  dye 
is  injured  both  by  the  alkali  of  the  one,  and  the  acid 
of  the  other. 

Saxon  Green.  Homassel.  Two  ounces  of  alum  per 
pound  of  woollen.  Boil  the  cloth  in  it  for  an  hour: 


188 


take  it  out,  drain  it;  put  into  the  boiler  one  ounce  of 
the  solution  of  indigo  per  pound  of  cloth,  and  four 
ounces  of  fustic.  Boil  these  for  an  hour  and  a half.  If 
you  dye  to  pattern  increase  or  diminish  accordingly. 
Saxon  greens  are  also  frequently  dyed  with  turmeric 
for  the  yellow  colour. 

(I  have  great  respect  for  a practical  book  like  Ho- 
massel’s,  but  I greatly  object  to  every  part  of  this 
process.  First,  there  is  no  reason  why  the  usual  dose 
of  tartar  should  be  omitted  in  the  preparation.  Se- 
condly, I object  to  the  yellow  being  dyed  first,  for  the 
acid  of  the  indigo  solution  will  certainly  impair  it. 
Thirdly,  I object  to  the  indigo  solution  being  boiled 
in  the  liquor,  for  it  will  certainly  act  on  the  copper 
and  sadden  the  colour.  Fourthly,  I protest  against  all 
use  of  a drug  so  fugitive  as  turmeric  in  the  woollen 
dye.  T.  C.) 

Same  Colour.  Berthollet.  Experience  has  taught  us 
that  this  colour  can  be  dyed  more  expeditiously  than 
by  the  former  practice.  A preparation  is  given  to  the 
cloth  in  the  usual  way  of  dyeing  yellows;  the  cloth  is 
then  washed;  (it  ought  to  be  no  more  than  rinced  at 
any  rate,  T.  C.)  put  into  the  same  preparation  liquor, 
fustic  in  chips  according  to  the  shade  required;  the 
fustic  must  be  enclosed  in  a bag;  (in  England  all 
woods  are  used  rasped,  T.  C.)  boil  this  for  an  hour 
and  a half;  take  out  the  bag;  cool  the  bath  so  that  you 
bear  your  hand  in  it;  (this  will  vary  from  130“  to  140“ 
or  even  145“  of  Fahrenheit’s  thermometer,  T.  C.)  pour 
in  about  twenty  ounces  troy  weight  of  the  solution  of 
indigo,  for  every  twenty-five  yards  of  cloth.  Turn  the 


0 


189 


cloth  quickly  at  first,  and  then  more  slowly;  take  the 
cloth  out  of  the  dye- vessel  before  the  liquor  boils.  It  is, 
however,  a good  practice  to  put  in  but  two-thirds  of  the 
solution  at  first,  then  to  give  the  cloth  two  or  three 
turns  in  the  liquor  and  then  put  in  the  other  third;  the 
colour  is  more  even  in  this  way. 

If  you  perceive  that  the  colour  does  not  take  well, 
throw  in  a little  powdered  calcined  alum.  (There  is 
no  use  in  calcining  it,  but  to  make  it  dissolve  a few 
minutes  sooner.  T.  C. ) 

The  apple  green,  is  usually  dyed  after  the  Saxon 
green,  refreshing  it  with  a third  of  the  original  quan- 
tity of  ingredients;  and  cooling  the  bath.  The  cloth 
may  be  turned  in  it,  till  the  heat  approaches  boiling, 
i It  is  evident  that  several  shades  of  green  may  be 
1 dyed,  according  not  only  to  the  proportions  of  the  in- 
gredients, but  the  kinds  of  yellow  dye-stulf  employed. 
But  fustic  is  generally  preferred,  because  the  acid  of 
the  solution  acts  less  upon  it,  than  upon  the  other 
yellow  drugs,  whose  colour  it  enfeebles  and  in  part 
discharges. 

To  avoid  this,  (says  Berthollet)  Bancroft  proposes 
to  dye  the  cloth  blue  first;  to  rince  it  well  in  clear 
water;  then  to  give  it  a preparation  of  three  parts  of 
washed  chalk,  or  whiting,  and  ten  or  twelve  parts  of 
alum,  to  a hundred  parts  by  weight  of  cloth;  at  the 
end  of  a quarter  of  an  hour,  he  adds  one  part  of  the 
chalk,  and  another  part  in  six  minutes  afterward,  and 
then  another,  till  a good  green  be  produced.  He  ad- 
vises also,  as  others  do,  to  add  chalk  to  the  suiphat  of 
alumine  (alum),  but  by  this  means  he  decomposes  the 


190 


alum,  and  precipitates  the  basis  of  this  salt.  The  effect 
of  carbonat  of  lime  (chalk  or  whiting)  is  very  different 
from  that  of  the  alkalies  on  alum;  for  these,  whether 
caustic  or  carbonated,  are  able  to  redissolve  the  alu- 
mine  precipitated,  which  whiting  or  chalk  cannot;  for 
it  is  converted  into  a sulphat  of  lime  or  gypsum.  The 
sulphuric  acid  of  the  solution  of  indigo,  may  be  neu- 
tralized by  chalk,  after  the  cloth  is  dyed  blue,  before 
it  be  alumed  for  the  yellow. 

(All  this  difficulty  is  owing  to  the  wish  to  save 
time  by  doing  at  once,  what  in  my  opinion,  can  only 
be  well  done  at  twice.  Dye  the  cloth  first  any  shade 
you  require  of  Saxon  blue.  Rince  it;  or  if  you  will, 
run  it  through  whiting  and  water  first,  and  then  rince 
it.  Then  dye  it  yellow  with  fustic  or  any  other  dye- 
wood  in  the  usual  way;  for  the  acid  can  now  no  longer 
act  either  on  the  alum  or  the  yellow  colour.  T.  C.) 

It  is  objected  to  Saxon  blue,  that  it  has  a greenish 
tinge,  which  is  probably  owing  to  some  peculiar  ac- 
tion of  the  acid  on  the  particles  of  indigo:  (it  is  not; 
it  is  owing  principally  to  impurities  in  the  indigo 
which  ought  previously  to  be  washed  out;  very  little 
of  this  tinge  will  be  seen,  if  the  solution  be  made  with 
the  precautions  I have  recommended,  under  the  article 
of  Saxon  blue.  T.  C.)  It  is  objected  also  that  this  kind 
of  dye  is  not  solid.  In  England  the  dyers  have  endea- 
voured to  make  it  approach  in  solidity,  as  well  as 
brilliancy,  to  the  vat  blue.  Gulich  gives  a process  for 
the  English  Saxon  blue  and  green,  of  which  he  boasts 
much. 

He  employs  a cold  vat  for  dyeing  his  blue,  com- 


191 


' posed  of  three  parts  good  quick  lime,  three  parts 
I green  copperas,  one  part  and  a half  of  orpiment,  and 
one  part  indigo.  The  indigo,  ground  and  sifted  in  the 
usual  manner,  is  put  into  a wooden  vat  with  the  ne- 
cessary quantity  of  water;  the  lime  is  added,  and  the 
vat  well  raked;  after  resting  some  hours,  the  copperas 
reduced  to  powder  (or  better  in  solution)  is  put  in;  it 
is  again  raked,  and  left  to  repose  for  a few  hours;  then 
I the  orpiment  in  powder  is  thrown  in;  it  is  again  raked, 
and  left  to  rest  for  a few  hours. 

When  the  liquor  is  well  coloured,  and  clear  under 
the  froth,  the  goods  are  dyed  in  the  usual  way.  He 
recommends  this  particularly  for  silk;  and  is  of  opinion 
that  the  want  of  success  in  a cold  vat  among  the  silk 
dyers,  has  been  owing  to  a want  of  orpiment.  (Ber- 
t thollet.) 

i Another.  Haigh  of  Leeds.  Eight  ounces  of  indigo 
? is  sufficient  for  four  pounds  of  oil  of  vitriol  for  green, 

: and  would  even  dye  a pea  green  if  used  very  hot,  and 

therefore  would  not  do  for  blue.  (He  recommends 
twelve  ounces  of  indigo  to  this  quantity  of  oil  of 
vitriol  for  blue;  but  in  fact  he  knows  little  about  it. 
These  are  receipts  that  will  do  tolerably  well  for 
Saxon  blue,  but  I know  of  no  good  one  except  that 
which  I have  given  under  the  head  of  Saxon  blue.  T. 
C.)  The  indigo  is  better  suspended  in  this  liquor  than 
when  twelve  ounces  are  used,  and  is  supposed  to  go 
further  in  green.  (That  is,  the  impurities  of  unwashed 
indigo  carbonate  the  oil  of  vitriol  and  give  it  a 
brownish-yellow  tinge,  which  with  the  blue,  makes 
a green.  T.  C.)  The  goods  being  well  scoured,  are  to 


19^ 


be  alumed.  For  this  purpose,  two  pounds  of  alum  are 
to  be  put  into  a copper  with  fair  water,  and  the  goods 
boiled  gently  an  hour  and  a half.  Whilst  this  is  per- 
forming, another  copper  is  got  ready,  in  which  fustic 
chips  are  put  to  boil.  (In  a bag.  T.  C.)  If  there  are 
any  to  be  dyed  a pea-green,  it  is  best  to  dye  them 
first;  not  as  practised  in  some  dye-houses;  for  this 
reason,  that  when  several  parcels  of  goods  have  been 
through  the  same  liquor,  there  remains  a scurf  which 
the  acid  extracts,  and  that  is  sure  to  stick  to  the  next 
parcel  that  goes  in;  and  if  pea-green  was  the  last,  the 
colour  would  be  dulled  thereb}^  The  greens  (pea- 
green  excepted)  are  to  be  turned  about  ten  minutes 
in  the  alum  liquor  after  they  are  dyed,  in  order  to 
clear  them  of  the  stuff,  and  render  the  colour  brighter. 
The  liquor  is  not  to  be  hotter  than  the  hand  can  be 
borne  in.  (140®  of  Fahrenheit.)  Observe  also,  if  the 
alum  was  put  in  (as  is  the  custom  in  some  dye- 
houses)  with  the  fustic,  it  would  retard  its  working 
so  well.  For  alum  being  an  acid,  would  discharge  if 
used  with,  as  well  as  to  prepare  for,  fustic. 

The  reader  will  perhaps  think  me  too  tedious  in 
this  process,  and  say  (because  he  has  not  used  this^ 
method)  it  is  a superfluous  work;  but  be  assured  that 
the  tim&  lost  in  the  process,  will  be  saved  in  the  fustic, 
if  attention  be  paid. 

(I  have  already  given  my  opinion,  that  the  blue 
should  be  dyed  first,  and  then  rinced  in  whiting  and 
water.  Then  prepared  with  alum  and  tartar  for  an 
hour  and  a half:  then  dyed  in  the  usual  way  with 
quercitron  or  fustic.  T,  C.) 


193 


I do  not  think  it  necessary  to  give  any  particular 
details  on  the  intermixture  of  yellow  and  red,  yellow 
and  brown,  yellow  and  black,  brown  and  red,  brown 
and  black,  and  so  on,  because  they  are  sufficiently 
obvious  and  easy;  and  no  directions  can  be  given 
which  the  eye  of  a tolerable  dyer  will  not  anticipate. 
It  may  be  worth  while  to  state  briefly  the  general 
effects  of  the  primitive  colours  taken  three  by  three 
from  Haigh’s  Dyer’s  Assistant. 

From  blue,  red,  and  yellow,  the  red  olives  and 
greenish  grays  are  made.  In  the  mixture  where  blue 
is  a shade,  it  is  usual  to  begin  with  it.  The  stuff  is 
afterward  boiled  to  give  it  the  other  colours,  in  which 
it  is  alternately  dipped.  Sometimes  they  are  mixed 
together,  which  may  be  done,  if  they  require  the 
same  preparation,  as  madder  red  and  yellow.  As  to 
coehineal  and  kermes,  they  are  seldom  used  in  these 
common  colours,  but  only  in  light  colours,  which 
have  a bloom  or  vinous  hue,  and  are  required  to  be 
bright.  In  this  case  they  are  not  used*  in  the  last  liquor, 
that  is,  the  stuff  is  only  dipped  in  when  it  has  received 
the  other  colours,  unless  they  are  to  be  grayed  a little, 
which  is  lastly  done  by  passing  them  through  the 
browning. 

Olives  are  made  from  blue,  red  and  brown,  from 
the  deepest  to  the  lightest;  and  by  giving  a light  shade 
of  red,  the  slated  grays,  lavender  grays  and  such  like 
are  produced. 

From  the  blue,  the  red,  and  the  black,  an  infinite 
number  of  grays  of  all  shades  are  made,  as  the  sage 
gray,  the  pidgeon  gray,  the  slate  gray,  the  lead  gray, 

' 2 B 


' 194 


the  king’s  and  prince’s  colour  browner  than  usu2(l, 
and  a variety  of  other  colours  almost  innumerable. 

From  yellow,  blue,  and  brown,  are  made  the  greens, 
goose  dung,  and  olives  of  all  kinds. 

From  brown,  blue,  and  black,  are  produced  the 
brown  olives,  and  the  green  grays. 

From  the  red,  yellow,  and  brown,  proceed  the: 
orange,  gold  colour,  marigold,  dead-leaf,  old  carna- 
tions, burnt  cinnamon,  and  tobacco. 

From  the  red,  yellow,  and  black,  pretty  nearly  the 
same  as  the  last,  and  the  deep  feuille-mort  (dead-leaf;) 
as  also  the  ox  hair  and  brown  nut,  and  others  of  the  ? 
like  kind. 

The  preceding  is  a sufficient  specimen  of  the  va- 
rieties that  may  be  produced  by  a mixture  of  severalj 
colours:  it  is  seldom  that  practice  extends  further 
than  these. 

I am  not  well  acquainted  with  the  following  singu- 
lar  process,  either  in  theory  or  in  practice:  I copy  it 
from  Homassel,  whose  book,  both  on  account  of  the 
author  and  editor,  is  entitled  to  as  much  attention  as 
any  other  treatise  on  dyeing  I am  acquainted  with. 


On  the  Produce  of  Woollen  Flocks,  Du  produit  de  la\ 
• Bourre. 

First  operation.  Wash  the  flocks  well  in  a wicker 
basket  at  the  river:  then  boil  them  for  five  hours  in 
alum,  at  the  rate  of  pound  for  pound.  Take  out  the 
flocks;  leave  it  in  an  underground  room  or  cellar 
(cave)  during  one  month  to  feed  upon  the  alum.  (Is  it 
possible  that  half  so  much  alum  can  be  of  use?  T.  C.) 


195 


Second  operation.  Wash  the  flocks  at  the  river  scru- 
I pulously  and  with  great  care.  (It  is  impossible  that 
this  can  be  proper,  unless  too  much  alum  has  been 
used  or  rather  wasted  in  the  first  operation.  Indeed,  I 
cannot  see  how  the  wool  can  be  benefited  by  an  alum- 
ing  beyond  four  or  six  ounces  to  the  pound  of  wool. 
I am  fully  persuaded,  that  until  colouring  matter  is 
j brought  to  act  upon  the  alum,  it  is  not  decomposed: 
f it  rests  intermingled  with  the  fibres  of  the  wmol,  in 
j the  form  of  alum,  and  can  be  completely  washed  out 
by  water.  Hence  I object  in  all  cases  to  these  careful 
and  scrupulous  preliminary  washings.  T.  C.)  This 
manoeuvre  takes  much  time  to  cleanse  it  well  in  close 
wicker  baskets.  The  flocks  are  then  dyed  in  a bath  of 
two  pounds  of  good  madder  to  each  pound  of  flocks. 
They  are  put  in  while  the  water  is  warm,  the  liquor  is 
heated  gently  and  gradually;  it  is  kept  under  a boiling 
heat  as  usual  for  madder,  during  three  hours;  it  is 
r then  taken  out,  cooled  and  washed  at  the  river  with 
the  same  precautions  as  have  been  prescribed  for 
washing  after  the  aluming.  It  is  then  spread  out  on 
planks  in  an  upper  floor  to  dry.  The  flocks  thus  pre- 
pared, are  employed  in  commerce. 

Third  operation.  The  solution  (fonte)  of  the  flocks, 
forms  a third  operation,  which  must  be  begun  at  four 
o’clock  in  the  morning,  so  as  to  be  finished  at  eight 
o’clock  at  night.  A boiler  is  half  filled,  and  two  pounds 
of  potash  (cendres  gravelees,  ashes  from  calcined 
wine  lees)  are  used  to  each  pound  of  flocks.  There 
must  not  be  more  water  than  a small  bucket  full,  to 
each  pound  of  flocks.  When  the  potash  is  well  melted, 


196 


put  in  the  flocks.  Have  ready  at  the  side  of  the  boiler, 
a barrel  containing  urine  in  the  proportion  of  a small 
bucket  full  to  each  pound  of  flocks.  The  liquor  in  the 
boiler,  must  be  well  stirred,  and  boiled  till  the  flocks 
are  completely  dissolved:  the  liquor  will  then  swell 
up,  and  be  apt  to  boil  over,  and  will  be  of  the  con- 
sistence of  milk  soup.  It  must  then  be  checked  by 
letting  the  urine  run  into  the  boiler  through  a pipe 
not  thicker  than  a straw.  This  operation,  which  from 
beginning  to  end  requires  sixteen  hours,  demands 
that  the  urine  shall  be  ten  hours  in  running  out  of  the 
barrel,  and  that  the  boiling  shall  continue  five  hours 
afterwards.  When  the  operation  is  finished,  there 
ought  not  to  be  in  the  boiler  more  than  two  quarts  of 
fluid  substance  for  each  original  pound  of  flocks,  ex- 
cept the  sediment,  which  is  not  calculated.  Twenty- 
five  years  ago,  this  liquor  was  sold  to  the  makers  and 
dealers  in  feathers  and  plumes  at  a pound  sterling  the 
bottle. 

With  this  solution  of  flocks,  rose  colours  are  dyed 
upon  woollen,  as  beautiful  as  tvith  safflower  upon  silk, 
by  diluting  the  liquor  in  warm  water,  but  they  are  not 
solid. 

The  sediment,  which  often  makes  half  the  quantity 
of  the  mass,  is  used  for  orange  tints. 

General  Remarks  on  the  Woollen  Dye. 

Having  thus  finished  all  the  processes  I think  ne- 
cessary to  detail  upon  the  subject  of  dyeing  woollen, 
I would  sum  up  with  some  remarks  that  for  the  most 
part  have  been  directly  made  or  hinted  at  before  in 
the  preceding  pages. 


197 


First,  in  impregnating  woollen  with  alum,  I do  not 
believe  that  there  is  any  use  in  employing  more  than 
■ six  (or  rather  four)  ounces  to  the  pound;  because  the 
quantity  of  madder  or  other  colouring  drug  which  the 
I cloth  will  take  up,  can  be  fully  precipitated  by  that 
quantity  of  alum.  I put  a solution  of  one  part  alum,  to 
a boiled  decoction  of  four  parts  madder:  an  additional 
quantity  of  alum  solution  threw  down  no  precipitate. 

Secondly,  the  cloth  after  aluming  may  be  rinced  to 
get  off  small  lumps  of  alum,  but  if  it  be  washed  scru- 
pulously, all  the  alum  will  be  washed  out:  for  the 
' cloth  does  not  decompose  it:  it  is  only  decomposed 
f and  fixed  on  the  cloth,  by  the  action  of  the  colouring 
! matter  of  the  drugs  used. 

Thirdly,  it  is  of  use  to  keep  the  cloths  after  alum- 
ing in  a damp  place,  because  by  this  means  the  alum 
is  prevented  from  crystallizing  and  more  equally  dif- 
fused in  solution  throughout  the  cloth. 

Fourthly,  in  general  a tolerably  full  colour  will  be 
obtained  by  three  ounces  of  alum  and  one  of  tartar  to 
a pound  of  the  cloth:  but  the  colour  may  be  increased 
in  intensity  to  the  amount  of  four  but  hardly  of  six 
ounces:  that  is,  if  the  proportion  of  colouring  drug  be 
increased  in  proportion.  The  tartar  I think  prevents 
the  alum  from  crystallizing. 

Fifthly,  I think  woollen  requires  tartar;  and  that  in 
general  one  half  of  tartar  to  one  of  alum,  is  not  too 
much:  but  where  acids  weaken  the  colour  less  may- 
be used. 

Sixthly,  in  the  dye-bath,  a heat  beyond  180®  of 
Fahrenheit  is  not  desirable:  for  madder,  it  ought  not 
to  go  beyond  150°  to  160°. 


ON  DYEING  SILK. 


Silk  is  not  of  so  decidedly  animal  a nature  as  wool- 
len, as  to  its  properties  in  dyeing.  It  unites  very  well 
to  alum,  but  the  acid  of  nitre  decomposes  it,  and  pre- 
vents its  retaining  the  colouring  matter.  It  has  little 
affinity  with  sulphuric  acid;  but  if  it  be  forced  to  re- 
ceive a dye  by  means  of  this  acid,  it  loses  its  lustre  in 
the  air  in  a very  short  time. 

The  colouring  matters  used  in  dyeing  wool,  are 
employed  also  to  dye  silk:  but  the  method  of  ma- 
naging the  dyeing  drugs  upon  silk  is  very  different. 
For  many  colours,  you  must  not  employ  a degree  of 
heat  beyond  the  thirtieth  degree  of  Reaumur’s  ther- 
mometer, (equal  to  about  100°  of  Fahrenheit,)  and 
always  in  troughs  (Baquets.)  The  necessary  dexterity 
in  handling  silk  stuffs,  can  only  be  acquired  by  long 
apprenticeship;  but  as  to  the  mere  dyeing,  that  can 
soon  be  taught  to  any  one  accustomed  to  dye  woollen. 
Indeed  I never  knew  a good  silk  dyer  who  had  not 
been  a w'oollen  dyer;  a good  workman  ought  to  be 
both. 

On  boiling  raw  and  unbleached  Silk.  Homassel.  In 
the  first  place,  you  must  divide  it  into  hanks  of  a 


199 


•«  pound  weight  each,  strung  upon  ozier  or  wicker, 
i Pass  a string  or  cord  through  ten  of  these  hanks. 
When  the  hanks  are  at  half  twist,  put  them  into  a bag 
or  pocket  of  thick  linen,  open  at  the  side;  put  three 
strings  (thirty  hanks)  into  one  pocket,  arranged  one 
on  the  other,  in  such  a way  that  there  is  no  danger  of 
I their  entangling  while  they  boil.  Then  sew  up  the 
I side  of  the  pocket. 

I For  one  hundred  pounds  of  silk  put  into  a boiler 
from  thirty  to  thirty-six  buckets  of  soft  river  water, 
or  such  as  will  mix  well  with  soap.  Take  for  each 
pound  of  silk,  four  ounces  of  good  white  soap,  cut  it 
in  pieces,  and  dissolve  it  in  the  water.  When  the  soap 
is  perfectly  dissolved,  put  more  water  into  the  boiler 
to  cool  it;  then  put  in  the  pockets  of  silk,  and  keep 
the  liquor  not  at  a boiling  heat,  but  at  such  a degree 
as  will  make  the  soap  and  water  boil  up  like  milk  over 
the  fire  just  about  to  boil  over.  But  if  the  heat  be  kept 
up  to  the  full  boiling  point,  the  silk  will  open  and  be- 
I come  furzy;  and  if  it  be  permitted  to  touch  the  sides 
of  the  boiler,  it  will  burn;  in  which  case  you  occasion 
I yourself  a great  deal  of  trouble,  and  incur  the  hazard 
of  spoiling  the  whole  batch. 

In  this  manner  you  keep  up  the  boiling  not  less 
than  four  hours,  keeping  the  pockets  constantly  stirred 
and  turned  one  over  the  other,  and  preventing  their 
resting  against  the  sides  of  the  boiler:  if  they  burn  at 
all,  you  must  take  out  the  pockets,  open  them,  exa- 
mine the  silk,  and  then  if  you  think  fit,  return  it  into 
the  boiler  again  sewed  up,  calculating  and  allowing 
for  the  time  this  operation  takes. 


20Q 


At  the  end  of  four  hours  take  out  the  pockets  of 
silk  with  two  poles,  beat  them,  open  the  pockets,  and 
hang  up  the  hanks  by  the  cord  or  strings  that  were 
passed  through  them,  to  drain  and  cool.  Then  wring 
them  upon  the  pegs,  so  that  they  can  be  handled,  and 
then  wash  them  thoroughly  at  the  river. 

When  the  silk  is  washed,  it  must  be  spread  out  in 
the  water,  by  a turn  of  the  wrist  every  time  it  is  turn- 
ed, changing  hands.  It  must  then  be  well  beaten  or 
beetled  on  a flat  stone,  turning  it  so  as  to  expose  it  in 
all  parts,  before  it  is  again  plunged  into  the  river.  It  is 
absolutely  necessary  that  the  workmen  should  under- 
stand and  be  able  to  manage  the  different  turns  of  the 
wrist  in  handling  and  working  silk,  otherwise  they 
will  entangle  it,  and  make  no  good  work.  To  acquire 
this  dexterity,  the  silk  dyer  should  make  his  apprentice 
boys  exercise  themselves  at  it  during  their  leisure 
hours,  with  a parcel  of  Grenada  silk  tied  up  in  hanks 
and  worked  in  a trough.  This  is  very  essential  to  the 
interest  of  the  boys,  for  a workman  who  knows  how 
to  handle  silk,  will  earn  more  wages  than  one  who 
merely  knows  how  to  dye  it.  The  most  essential  parts 
of  the  management  of  silk,  is  to  know  how  to  wash  it 
well,  to  wring  it  well,  and  to  smooth  it  well  (lisser.) 
Silk  not  well  washed,  is  very  troublesome.  If  you  dye 
it  in  a vat,  the  soap  is  extricated  from  the  silk,  and 
mixes  with  the  dye  stuff  in  such  a manner  as  to  pre- 
cipitate the  colour,  so  that  you  can  hardly  recover  the 
tone  of  the  vat  again.  I know  of  no  enemy  so  dreadful 
to  the  warm  indigo  vat,  as  soap. 

Silk  which  is  alumed  without  being  well  washed, 


201 


takes  the  alum  imperfectly,  so  that  when  it  comes  to 
be  dyed,  it  is  stronger  of  colour  in  some  places  than 
others,  and  appears  spotted. 

A parcel  of  silk,  not  dexterously  wrung,  and  the 
fibres  laid  smooth  and  even,  does  not  dry  equally  and 
perfectly;  and  when  dyed,  it  is  apt  to  spot.  If  you  pass 
it  into  an  indigo  vat,  the  colour  will  disappear  in  those 
places  where  it  is  moist;  you  must  then  discharge  the 
colour,  and  begin  your  labour  anew.  When  you  take 
a hank  of  silk  in  the  left  hand,  and  turn  it  upon  the 
stick,  it  soaks  up  too  much  water  where  the  hand 
presses  it,  and  if  it  be  not  dextrously  and  evenly  turned 
upon  the  stick  by  a turn  of  the  wrist,  it  will  become 
spotted  in  the  places  that  are  pressed  by  the  hand, 
when  it  is  dyed.  Hence  it  is  evident  that  the  art  of 
handling  the  silk  in  a workman- like  manner,  is  of  the 
first  importance  to  the  dyeing  of  it  well.  All  this  can 
only  be  attained  by  example  and  practice.  When  the 
silk  is  well  washed,  and  beaten  at  the  river,  it  some- 
times happens  that  you  discover  spots  where  the  natu- 
ral gum-resin  of  the  unbleached  silk  has  not  been 
thoroughly  removed;  the  workman  calls  this  biscuit^ 
because  those  places  have  not  been  sufficiently  boiled. 
This  may  arise  from  the  hanks  having  been  too  closely 
confined  in  the  pockets,  or  that  they  have  not  been 
sufficiently  stirred  and  moved  in  the  boiler,  by  bring- 
ing the  bottom  pockets  to  the  top  in  rotation  continu- 
ally, or  that  the  heat  has  not  been  sufficient,  or  that  the 
quantity  or  quality  of  the  soap  has  been  deficient.  In 
this  case,  the  spotted  hanks  must  be  separated,  and 
boiled  over  again,  either  in  a separate  quantity  of  soap 

2C 


202 


and  water  expressly  prepared,  or  with  other  hanks  in- 
tended to  be  still  further  bleached  for  white  silk.  The 
above  described  process  being  sufficient  for  silk  meant 
to  be  dyed,  but  not  for  silk  meant  to  be  made  up  white. 
As  yet,  it  is  only  ungummed. 

For  the  boiling  of  silk,  it  is  necessary  to  use  the 
best  white  soap,  which  goes  farthest,  and  is  cheapest 
upon  the  whole.  Some  coarse  soaps  unite  with  the  gum- 
resin  of  the  silk  and  form  a varnish  difficult  to  be  dis- 
solved. 

Fat  soaps  (soft  soaps)  are  sometimes  used  for  the 
purpose  of  boiling  silk,  but  the  operation  is  not  per- 
fect; and  the  colour  not  so  good  at  first,  is  apt  to  red- 
den by  time  and  exposure. 

Silk  loses  from  twenty-five  to  thirty  per  cent  in 
boiling,  to  deprive  it  of  its  gum-resin.  Hence  it 
should  be  remembered,  that  in  dyeing,  one  pound  of 
silk  weighs  and  means  only  twelve  ounces. 

The  soap  suds  used  to  boil  silk,  soon  putrefies  and 
becomes  good  for  nothing,  (except  perhaps  as  a ma- 
nure. T.  C.)  If  the  silk  is  heaped  when  warm  out  of 
the  suds,  before  it  is  washed,  it  will  heat,  putrefy,  and 
generate  worms,  which  however  will  not  feed  on  the 
silk,  but  on  the  soap  and  gum  only.  Such  silk  will  be 
harsh. 

If  your  water  be  muddy  when  you  want  to  wash 
the  soap  and  gum  out  of  the  silk,  you  may  clear  it 
either  by  boiling  some  bran  in  it  and  scumming  it,  or 
by  putting  a pound  of  common  soap  to  about  thirty 
buckets  of  water,  and  boiling  and  scumming  it. 

(It  has  been  proposed  to  substitute  soda  for  soap. 


20S 


but  it  is  not  used,  nor  do  I understand  the  advantage 
or  superiority  of  this  substitute.  T.  C.) 

Of  JVhite  Silk.  String  your  hanks  two  on  a stick. 
Prepare  an  oval  boiler;  dissolve  in  soft  water  in  this 
boiler,  soap  in  the  proportion  of  one  part  spap  to  silk 
four  parts  by  weight.  When  the  soap  is  melted,  cool 
the  suds  with  cold  water,  and  draw  out  most  of  the 
fire  from  under  the  boiler.  Place  the  hanks  of  un- 
bleached, ungummed  silk  suspended  on  their  sticks 
on  this  boiler.  Turn  them  in  the  boiler,  so  as  to 
moisten  them  thoroughly  and  equally,  till  the  gum 
entirely  disappears  in  that  part  which  was  in  the  boiler. 
For  this  purpose,  keep  the  sticks  moving  downward 
and  upward  in  the  soap  liquor,  as  if  you  were  wash- 
ing the  silk  in  the  soap  suds,  which  are  to  be  kept 
nearly  at  a boiling  heat.  In  about  half  an  hour,  the 
portion  of  the  silk  thus  worked  in  the  boiler  will  be 
deprived  of  its  gum:  take  it  out,  and  enter  the  rest, 
and  proceed  in  the  same  manner. 

When  all  is  deprived  of  its  gum,  it  is  washed, 
wrung,  and  sewed  up  in  pockets  to  be  boiled  again 
for  white.  The  boiler  is  emptied,  and  cleaned,  so  that 
no  gummy  matter  remains  in  it.  Charge  it  again  with 
water  and  soap,  as  before,  four  ounces  to  the  pound 
of  silk. 

As  whites  are  of  difierent  shades,  silver  white, 
thread  white,  bonnet  white,  blue  white,  a quantity  of 
indigo  finely  ground  and  passed  through  a sieve,  is 
put  in  the  boiler,  according  to  the  tone  of  colour  re- 
quired. Boil  for  four  hours  with  exactly  the  same 
management  and  manoeuvre  as  with  the  raw  silk. 


204 


When  the  silk  will  take  too  much  time  to  deprive 
it  of  its  gum  by  means  of  dipping  the  hanks  on  sticks, 
or  that  you  have  no  oval  boiler  fit  for  the  purpose, 
you  may  make  the  raw  silk  up  into  loose  bundles, 
and  boil  it  in  the  first  soap  for  half  an  hour;  but  this 
method  is  never  so  certain  as  when  it  is  handled  upon 
the  sticks.  If  in  a boiling  of  raw  silk  after  four  hours, 
you  are  liable  to  biscuit  spots,  (imperfectly  deprived 
of  the  gum,)  you  must  give  it  half  an  hour  more  boil- 
ing. This  renders  the  management  of  it  on  sticks 
passed  through  the  hanks  so  convenient,  where  the 
progress  can  be  so  much  better  observed. 

When  the  silks  are  sufficiently  boiled,  take  them 
out,  open  the  pockets,  wring  them  on  the  peg,  expose 
them  in  a room  to  be  sulphured  for  twelve*  hours, 
when  you  may  withdraw  and  dry  them.  Silks  meant 
to  be  made  up  white,  are  not  washed  out  of  the  brim- 
stone vapour,  unless  they  are  meant  to  be  dyed.  (I 
think  this  is  dangerous  practice.  T.  C.) 

When  the  silks  come  out  of  the  sulphur  room,  they 
are  not  always  conformable  to  pattern:  sometimes  they 
are  qpt  blue  enough:  in  this  case  mix  a little  Saxon 
blue  tvith  well  water,  and  run  them  through  that  and 
dry  them.  If  they  are  too  blue,  which  can  be  seen  by 
wringing  a hank  upon  the  peg  till  it  is  dry,  before 
you  sulphur  it,  prepare  a bath  of  white  soap  and  water, 
two  ounces  of  soap  to  the  pound.  Work  the  hanks  in 
this,  till  they  have  given  out  their  superfluous  blue: 
then  wring  them,  and  without  washing  send  them  to 
the  brimstone  room. 

Bonnet  whites  are  never  sulphured:  the  acid  would 


205 


rust  the  needles.  In  lieu  of  this,  when  they  come  out 
of  the  white  soap-boiling,  they  receive  another  boiling 
in  soap  with  a little  blue.  They  are  then  wrung,  and 
dried  quickly. 

Bonnet  grays  are  made  after  the  silk  is  white:  they 
are  prepared  in  numbers  from  the  lightest  shade  to  the 
deepest.  For  this  purpose  the  dyers  rince  them  in 
the  water  which  has  been  used  to  rince  the  black  silks, 
either  diluted  or  not,  as  occasion  may  require.  They 
must  be  washed  afterward;  for  the  soap,  and  the  iron 
with  which  the  black  dye  is  charged,  will  otherwise 
have  a bad  effect  on  the  silk.  But  as  the  hosiers  do  not 
pay  more  for  the  grays  than  for  the  whites,  some  dyers 
are  skilful  enough  to  dye  their  grays  on  the  whites 
without  washing.  The  soap  and  the  black  dye  unite, 
and  adhere  to  the  silk,  adding  to  the  weight  of  it; 
which  is  their  inducement  to  proceed  in  this  manner, 
as  the  dyer  gains  by  the  additional  weight. 

If  the  soap  suds  which  have  served  to  boil  the  silks 
are  not  quite  spoiled,  they  are  used  together  with  the 
third  soap  bath  of  the  white  silks,  as  a first  boiling  for 
the  raw  or  unbleached  silk,  adding  only  two  ounces 
of  fresh  soap  to  the  pound.  It  is  supposed  that  a hun- 
dred pounds  of  whitened  silk  will  yield  no  more  than 
seventy.five  pounds;  and  no  more  is  delivered  to  the 
merchant.  The  rest  is  the  affair  of  the  dyer. 

White  silk  intended  for  any  kind  of  manufactures, 
except  that  made  up  at  the  hosiers — that  meant  to  be 
dyed — or  that  meant  to  be  watered,  is  usually  sul- 
phured. 


206 


Of  Sulphuring,  Macquer.  The  hanks  should  be 
spread  on  perches  seven  or  eight  feet  from  the  ground, 
choosing  for  this  purpose  a high  room  without  a chim- 
ney, or  an  elevated  barn,  where  you  can  procure  a 
current  of  air  when  you  want  it. 

A pound  and  a half  of  roll  brimstone,  broken  into 
small  lumps,  is  lighted  on  earthen  pans:  when  one  piece 
is  lighted,  it  will  communicate  with  the  others:  there 
should  be  a few  ashes  in  the  bottom  of  the  pans. 

Shut  the  room,  and  close  the  chimney,  if  there  be 
one,  to  prevent  the  vapour  from  being  dissipated.  It 
should  burn  all  night.  Next  morning  the  windows 
should  be  opened  to  admit  the  air,  and  dissipate  the 
vapour.  This  current  of  air  is  sufficient  in  summer 
time  to  dry  the  silk.  But  in  winter,  as  soon  as  the 
vapour  is  dissipated,  the  windows  should  be  again 
shut,  and  chafing  dishes  or  a brazier  of  charcoal  intro- 
duced to  dry  the  goods.  (The  chafing  dishes  or  brazier, 
should  have  perforated  covers,  to  prevent  the  dust  from 
flying  about.  T.  C.)  It  is  of  great  consequence  that  the 
door  and  windows  of  the  room  should  open  outward, 
otherwise  it  would  be  unpleasant  to  go  in,  when  the 
vapour  required  to  be  dissipated.  If  in  dressing,  the 
silk  sticks  or  adheres  together,  it  is  not  sufficiently 
dry. 

The  sulphuring  destroys  the  yellow  tinge  of  the 
silk:  it  gives  it  firmness,  and  occasions  that  rustling 
noise  which  is  so  much  desired.  When  this  hardness 
of  fibre  and  rustling  is  not  wanted,  as  when  silks  are 
meant  to  be  watered,  it  can  be  taken  away  by  dipping 
the  silk  in  hot  water;  this  indeed  takes  away  the  harsh- 


207 


ness  in  question,  but  silks  to  be  dyed  or  watered, 
should  never  be  sulphured. 

If  when  sulphured,  the  silk  is  not  blue  enough,  it 
must  be  blued  with  a snlall  quantity  of  Saxon  blue, 
without  being  again  soaped.  For  blueing,  use  hard 
water:  soft  water  sometimes  produces  a reddish  tinge 
on  the  silk. 

Some  stuffs,  as  silk  laces,  blonds,  and  gauzes  are 
manufactured  of  raw  silk:  for  these  articles  the  silk 
need  only  be  soaked  for  a short  time  in  warm  water, 
containing  a little  soap  and  blue,  then  washed  in  clean 
water,  and  sulphured.  But  when  the  silk  is  naturally 
white,  like  that  of  nankin,  it  requires  no  such  ope- 
ration. 

Of  Aluming.  Keep  by  you  a cask  containing  alum 
liquor,  made  by  putting  about  two  pounds  of  alum  to 
four  gallons  of  water;  or  strong  enough  to  be  unplea- 
santly astringent  on  putting  it  to  your  tongue. 

Having  washed  the  silk,  it  is  beetled;  and  the  better 
to  clear  it  from  any  remaining  soap,  drain  it  bn  the 
pegs,  and  tie  it  up  in  hanks  as  for  boiling.  The  hanks 
are  then  dipped  in  the  alum  liquor  one  after  another, 
taking  care  to  prevent  them  from  tangling  and  twist- 
ing together.  They  should  be  loosely  tied,  that  every 
thread  may  be  evenly  dipt.  In  this  situation  it  should 
remain  from  night  to  morning.  After  this  it  is  taken 
out,  and  when  wrung  by  hand  over  the  tub,  it  is  rinced 
at  the  river,  and  beetled  as  long  as  necessary.  ( A pro- 
cess that  I think  may  be  dispensed  with.  A slight 
rincing  seems  to  me  enough.  T.  C.)  In  some  manu- 
factories, instead  of  steeping,  the  hanks  are  worked 


208 


in  the  liquor  hung  upon  rods  or  sticks.  The  quantity 
you  can  alum  at  once  depends  on  the  size  of  your 
vessel.  When  a good  deal  of  silk  has  been  alumed, 
the  alum  liquor  must  be  renewed  and  refreshed.  When 
it  becomes  offensive  by  frequent  dipping,  use  it  up  as 
much  as  possible  for  browns,  maroons,  and  such  like 
colours,  and  then  throw  the  rest  away. 

The  cask  should  be  frequently  stirred  and  swept,  to 
detach  all  the  particles  of  crystallized  alum  from  the 
sides  of  it:  some  dyers  prefer  its  remaining,  but  the 
soap  also  remaining  in  the  silk  sticks  to  the  sides,  and 
it  is  this  in  general  that  produces  the  bad  smell  in  the 
casks. 

Silk  should  always  be  alumed  cold:  if  alumed  in 
warm  liquor,  it  is  apt  to  lose  its  lustre.  It  is  better  to 
make  the  alum  liquor  strong  than  weak;  the  alum 
combines  with  the  silk  in  this  case  more  evenly  and 
surely.  (After  aluming,  the  silk  must  be  sufficiently 
washed  to  prevent  any  crystallized  alum  sticking  to 
it,  but’ no  more.  T.  C.) 

Of  Annatto.  Usually  called  in  the  shops  here, 
Spanish  Annatto;  but  it  is  a kind  of  gura-resin  that 
comes  from  Cayenne.  The  French  call  it  Rocou.  It 
gives  nearly  the  same  colours  as  iron,  more  lively,  but 
less  deep,  and  less  solid.  It  resists  washing  tolerably, 
but  it  flies  before  the  sun  and  air.  Almost  all  the  co- 
lours that  annatto  can  give,  can  be  produced  by  iron; 
still  annatto  is  generally  and  extensively  used,  for 
orange,  aurora,  mordore,  gold,  and  buff  colours. 

Take  by  weight  equal  parts  of  annatto  and  pearl  ash 
or  potash,  and  four  ounces  of  each  for  a pound  of  silk 


209 


meant  to  be  dyed  a full  orange  colour.  Put  the  neces- 
sary quantity  into  a boiler  of  soft  water,  large  in  pro- 
portion to  the  quantity  of  silk  you  mean  to  dye  at 
once. 

In  dyeing,  the  pound  of  silk  is  only  twelve  ounces, 
allowing  four  ounces  deficiency  in  weight  by  bleach- 
ing the  raw  silk.  A hank  of  silk  is  fifteen  ounces.  But 
equal  weights  of  the  annatto  and  bleached  silk,  is  about 
the  proper  proportion.  The  annatto  should  be  cut  in 
pieces,  and  put  into  a copper  cullender,  about  ten 
inches  deep,  that  will  hold  three  or  four  gallons.  The 
cullender  must  have  two  handles;  the  annatto  being 
put  in  the  cullender,  this  last  is  sunk  into  the  warm 
water  in  the  boiler,  into  which  the  alkaline  salt  has 
been  previously  put  to  melt,  and  rubbed  through  the 
holes  of  the  cullender  with  a stick;  when  every  thing 
has  passed  through  that  the  water  will  dissolve,  bring 
the  liquor  to  a boil:  if  the  dull  brick  colour  of  the 
crude  annatto  is  not  conquered,  although  all  the  alkali 
is  dissolved,  it  is  a sign  that  a little  more  of  the  pot  or 
pearl  ash  is  needed.  The  annatto  will  be  uniformly 
dissolved  in  about  twenty  minutes:  the  liquor  must 
then  be  cooled  with  cold  water,  and  the  silks  dyed  in 
the  liquor  under  a scalding  heat,  till  they  acquire  the 
colour  of  the  specimen,  which  may  be  ascertained  by 
winging  hard  a hank  of  it,  and  observing  the  tint  when 
dtus  nearly  dried.  The  colour  should  be  brought  up 
deeper  than  the  specimen,  because  much  false  colour 
will  be  washed  and  beetled  out  when  the  silk  after 
being  dyed  is  carried  to  the  river.  It  should  be  twice 
beetled,  else  the  colour  is  apt  to  smear.  The  hanks 

2 D 


A 


210 


should  be  wrung  upon  the  peg  over  the  boiler,  to  save  ( 
the  colour.  Annatto  dissolved  in  alkali,  will  keep  good  i 
a long  time. 

It  is  not  necessary  to  wash  the  goods  out  of  their  • 
soap,  when  they  are  intended  to  be  dyed  in  annatto,  \ 
because  soap  and  annatto  agree  very  well  together,  j 
(Nankin  breeches  are  refreshed  by  putting  a tea-  ' 
spoonful  of  an  alkaline  solution  of  annatto,  into  the  I 
last  soap  suds.  T.  C.) 

When  you  have  dyed  any  quantity  of  silk  in  an-  i 
natto  liquor  thus  made,  put  it  by,  and  if  it  be  not  i 
strong  enough  for  your  next  parcel,  it  may  be  refresh-  i 
ed  with  more  annatto;  but  when  you  thus  refresh  the  i 
annatto  bath,  do  not  put  more  than  eight  ounces  of 
alkali  to  twelve  of  annatto. 

Coquelicot.  Give  your  bleached  silk  a good  ground  i 
of  fresh  annatto:  wash  and  beetle  it;  wring  it.  Leave 
it  loosely  in  the  alum  liquor  cask,  taking  care,  as  in  all 
other  cases  of  silks  that  are  alumed,  that  no  part  be  ! 
exposed  to  the  air;  otherwise  the  alum  water  pene- 
trating one  part  more  than  another,  the  silk  will  spot 
in  the  dyeing. 

When  the  silk  has  remained  immersed  in  the  alum 
liquor  for  twelve  hours,  take  it  out  and  wash  it  at  the 
river.  When  the  annattoed  silks  are  taken  out  of  the 
alum  liquor,  they  will  have  put  on  a bright  red,  which 
is  owing  to  the  acid  of  the  alum,  which  always  reddens 
and  enlivens  annatto  colours. 

When  the  annattoed  silk  has  been  thus  alumed,  aiKl 
washed  after  aluming,  pass  it  through  a bath  of  brazil 
wood  at  the  heat  of  100°  of  Fahrenheit,  and  bring 


211 


your  silk  to  the  tint  of  the  pattern,  trying  it  by  wring- 
ing a specimen  on  the  peg. 

To  make  this  colour  in  perfection,  the  brazil  liquor 
should  be  two  or  three  months  old;  by  which  time  it 
will  have  acquired  its  perfection  of  colour.  When 
dyed,  it  is  taken  to  the  river,  washed,  and  evenly 
wrung:  then  dried  upon  poles  in  the  shade. 

An  Aurora  colour  is  dyed  with  annatto  alone.  It 
can  be  reddened  at  pleasure  by  alum  or  by  any  acid. 
But  this  reddened  colour  will  be  browned  again  by 
soap. 

Mordore.  When  the  silk  has  taken  an  aurora  colour, 
been  washed  and  alumed  as  usual,  it  is  then  rinced  at 
the  river,  and  a fresh  hot  liquor  prepared,  to  which  is 
added  some  decoction  of  fustic  and  decoction  of  log- 
wood.  The  silk  is  returned  into  the  liquor.  If  too 
red,  it  can  be  saddened  with  a little  green  copperas. 

OrangCy  is  produced  by  using  a little  more  annatto 
than  is  necessary  for  aurora,  and  reddening  it  slightly, 
by  vinegar,  tartar,  alum,  or  any  other  acid.  If  a still 
redder  and  deeper  tinge  be  wanting,  it  can  be  given 
by  a little  decoction  of  brazil  or  carthamus.  Old  baths 
of  brazil,  and  carthamus  or  safflower,  can  be  used  up 
for  these  colours. 

Gold  and  Buff^  can  be  dyed  after  an  aurora  colour 
in  the  same  bath.  Either  with  or  without  a little  fustic 
liquor. 

All  annatto  colours  should  be  well  washed  and 
beetled  after  they  are  dyed,  on  account  of  small  grains 
of  sediment  that  are  apt  to  smear  the  cloth  and  prevent 
the  uniformity  of  the  dye.  For  nice  work,  the  alkalized 


212 


annatto  should  be  filtered  through  a piece  of  callicoe 
and  the  sediment  ground  with  alkali,  and  again  washed 
through. 

In  dyeing  annatto  colours,  as  alkalies  make  them 
yellow,  and  acids  turn  them  reddish  or  salmon  colour, 
the  colour  will  incline  more  to  an  orange  by  lessening 
the  quantity  of  alkali. 

Alkalized  annatto,  is  Scot’s  patent  nankin  dye. 

The  following  properties  of  annatto,  are  noticed  by 
Berthollet. 

The  experiments  of  Le  Blond  and  Vauquelin  have 
shown  that  the  following  preparation  of  annatto  is  far 
better  than  that  usually  sold. 

Let  the  grains  of  annatto  (the  seeds  of  the  Bixa 
Orellana  of  Linnaeus)  be  washed  till  all  the  colour  is 
extracted,  which  is  external  only:  let  it  then  be  preci- 
pitated by  vinegar;  the  precipitate  may  then  be  de- 
prived of  moisture  by  filtering,  and  thus  made  up  in 
cakes.  The  annatto  thus  prepared,  they  say,  is  more 
easily  worked,  gives  brighter,  richer,  and  more  even 
colours  than  the  common  annatto;  and  is  worth  four 
times  as  much. 

Spirit  of  wine  dissolves  annatto  better  than  water; 
hence  it  is  used  to  give  a yellow  orange  colour  to 
varnishes. 

Alkali  dissolves  it,  but  better  by  heat  than  cold. 

Acids  form  an  orange  coloured  precipitate  from 
this  liquor;  this  precipitate  is  soluble  again  in  al- 
kalies. 

Muriat  of  soda,  common  salt,  and  muriat  of  am- 
monia, produce  no  sensible  change  in  the  colour. 


r 


213 

Solution  of  alum  affords  a considerable  orange  co- 
; loured  precipitate,  deeper  than  that  which  is  formed 
by  acids.  The  supernatant  liquor  retains  a greenish 
yellow  colour. 

Sulphat  of  iron  produces  a brown  orange  precipi- 
tate: the  liquor  retains  a pale  yellow  colour. 

Sulphat  of  copper,  produces  a brown  yellow  pre- 
cipitate, lighter  than  that  with  iron.  The  liquor  of  a 
greenish  yellow. 

Solution  of  tin  produces  a lemon  yellow,  that  sub- 
sides very  slowly. 

^ Of  Puce  Colour.  (Flea  colour.)  There  are  many 
/ shades  of  puce  colour  dyed  on  silk,  but  the  finest  and 
richest  is  the  following.  Having  dyed  your  silk  a 
coquelicot  colour,  give  it  as  strong  a decoction  of  in- 
digo as  it  can  take  up.  That  is,  dye  a ground  of  annat- 
to,  in  a bath  prepared  with  fresh  annatto  so  as  to  fill 
the  silk;  wash  it  and  beetle  it;  soak  it  for  a night  in 
alum  liquor;  rince  it  and  beetle  it;  for  if  any  crystallized 
alum  sticks  to  the  silk,  the  colour  will  be  spotted. 
Then  dye  it  in  a strong  decoction  of  brazil  wood,  old 
if  you  have  it;  if  not,  fresh  made;  neither  wash  nor 
beetle  it;  then  dye  it  out  of  the  brazil  liquor  in  a strong 
logwood  liquor  fresh  made;  wash  it  and  dry  it. 

Brown  Puce,  is  dyed  with  annatto;  wash  it;  alum 
it;  then  without  brazil,  dye  it  at  once  after  aluming 
and  rincing,  in  a strong  decoction  of  logwood.  Care 
must  be  taken,  that  the  silk  when  dyed  with  annatto 
should  be  very  well  washed,  else  the  alkali  of  the  an- 
natto will  decompose  the  alum,  and  the  alum  liquor 
will  also  be  coloured  by  the  annatto. 


214 


Of  Young  Fustic  f Fustety  Venetian  Sumach.  This  is 
used  in  the  silk  dye,  boiled  like  logwood.  Its  colour 
is  absolutely  the  same  as  that  of  walnut  rind;  only 
this  last  does  not  require  a mordant,  and  young  fustic 
does.  (I  think  this  imported  drug  may  be  discarded. 
T.  C.)  This  drug  is  used  for  specimen  patterns:  it 
unites  well  with  brazil,  weld,  and  logwood,  the  princi- 
pal dyeing  ingredients  which  are  used  for  specimens. 

Fustet  or  young  fustic,  is  also  used  for  puce  co- 
lours and  browns,  but  they  are  never  so  full  as  with  a 
ground  of  annatto.  Indeed  a good  silk  dyer  may  dis- 
pense with  young  fustic  even  for  his  pattern  colours, 
if  he  understands  how  to  alum  upon  annatto. 

Carmelite.  Dye  in  an  old  bath  of  annatto;  wash 
well;  alum  as  usual;  a small  quantity  of  brazil;  then 
with  the  logwood  liquor,  hot.  Do  not  mix  the  logwood 
and  brazil;  dye  with  brazil  first.  Also,  remember  in 
all  cases  never  to  dye  alumed  silk  in  a very  hot  bath, 
for  when  hot  the  alum  quits  the  silk,  the  colour  pene- 
trates it  with  difficulty,  and  if  you  have  to  dye  again 
with  some  other  decoction,  you  may  be  obliged  to 
alum  the  silk  over  again. 

Prune  Colours:  there  are  several  shades  of  these. 
To  dye  them,  alum  your  silk,  wash,  ground  with  a 
strong  decoction  of  brazil,  then  without  washing  dye 
in  a logwood  liquor.  When  the  colour  is  raised  in  this 
manner,  for  the  purpose  of  fixing  it,  and  reducing  its 
too  great  brilliancy,  throw  in  a little  old  annatto,  un- 
less the  pattern  require  great  vivacity  of  colour,  in 
which  case  dispense  with  the  annatto.  Do  not,  as  many 
do,  mix  your  logwood  and  brazil. 


215 


Many  Violets  are  dyed  on  Grenada  silk,  by  aluming 
and  logwood  simply.  So  Grenada  colours,  Grenadines, 
and  false  crimsons,  are  made  by  aluming  and  then 
dyeing  with  brazil.  The  brazil  decoction  should  be 
old,  the  logwood  decoction  fresh. 

These  logwood  violets  are  rather  dull.  Soap  turns 
them  of  a bluish  colour,  of  course  so  do  alkalies. 

The  logwood  decoction  may  be  a few  days  old,  but 
it  must  not  be  kepi  so  long  as  the  brazil  liquor.  This 
last  will  bear  to  be  kept  two  or  three  months;  but  if 
the  logwood  decoction  be  kept  a month,  its  dark 
brown  red  colour  is  by  the  air  converted  into  a fawn 
colour  which  spoils  it.  , 

Logwood  violets  are  best  dyed  cold,  or  very  mode- 
rately warm.  When  dyed  hot  the  colour  is  rough,  un- 
even, and  tarnished. 

Violets  are  also  dyed  with  logwood  and  verdigris, 
thus:  the  silk  being  well  washed  out  of  the  soap,  dis- 
solve in  water  an  ounce  of  verdigris  for  each  pound 
of  silk;  it  is  usually  directed  to  be  dissolved  in  cold 
water,  but  it  may  be  best  dissolved  in  hot  water, 
which  may  then  be  suffered  to  cool. 

Let  the  silk  be  immersed  in  this  liquor  for  an  hour 
or  two.  This  gives  no  perceptible  colour.  The  silk  is 
then  wrung,  and  put  on  rods  or  sticks,  if  in  hanks. 
Make  a decoction  of  logwood  and  dye  the  silk  in  it, 
without  previous  washing. 

The  silk  is  then  taken  out,  and  when  dipped  in  a 
clear  solution  of  alum,  acquires  a red  colour,  that  with 
the  previous  blue  makes  a violet.  The  more  alum  the 
redder  the  colour.  Any  acid  would  produce  the  same 


216 


effect,  but  alum  is  preferred.  The  silk  having  acquired 
the  colour  you  wish,  is  wrung  over  the  liquor,  washed, 
and  again  moderately  wrung  on  the  peg,  that  the  co- 
lour may  remain  on  drying;  for  if  it  be  wrung  hard, 
the  part  most  squeezed  will  be  the  lightest,  and  the 
others  will  appear  dark  and  coppery:  this  is  an  incon- 
venience to  which  logwood  colours  are  liable,  and 
should  be  attended  to,  not  only  in  this  colour,  but 
also  in  the  logwood  violets  that  are  dyed  without  ver- 
digris. 

Logwood  violets  with  verdigris,  are  not  more  bril- 
liant or  faster  than  others;  but  the  verdigris  serves  as 
a mordant.  The  logwood  blue  thus  produced  by  verdi- 
gris, is  fugitive,  and  by  no  means  to  be  compared  with 
the  blue  of  pastel  or  indigo. 

The  most  brilliant  violet  on  silk  is  made,  not  with 
logwood,  but  with  archil,  orseille;  using  one  pound  of 
archil  to  one  pound  of  silk.  The  silk  is  prepared  as 
usual  upon  sticks  or  rods.  Boil  the  archil  for  five 
minutes,  or  ten  at  the  utmost,  then  cool  the  liquor  to 
a scald  with  cold  water.  Enter  the  silk  quickly,  and 
keep  it  dipped  in  the  bath  for  fifteen  minutes,  then 
take  out  the  hanks,  wring  them  moderately  so  as  not 
to  lose  the  liquor;  if  the  colour  is  not  yet  deep  enough, 
make  the  liquor  boil  again  before  you  put  in  the  silk, 
then  lower  the  heat  as  before  with  cold  water,  and 
enter  the  silk  again.  You  may  repeat  this  boiling  three 
or  four  times.  When  the  violets  are  raised  to  a colour 
sufficiently  deep,  wash  them  at  the  river,  and  if  when 
washed  they  are  too  red,  pass  them  through  some 
water  in  which  a little  pearl  ash  is  dissolved.  Potash 
and  soda  do  not  very  well  agree  with  silk. 


217 


All  archil  colours  must  be  wrung.in  such  a manner 
that  they  are  equally  moist,  and  they  must  be  equally 
dried:  for  I have  often  observed  accidents  in  the  dye- 
ing. To  remedy  these,  you  must  heat  your  archil 
liquor,  and  dye  the  piece  over  again,  then  run  it 
through  pearl  ash  and  water,  and  dry  it  out  of  this 
last  liquor. 

A violet  bath  of  archil,  will  do  afterwards  for  lay- 
locks,  pearl  grays  and  such  colours:  it  can  be  refreshed 
with  a little  archil. 

(The  Dutch  archil  is  the  litmus,  so  useful  to  a 
chemist.  T.  C.) 

Violet  with  Brazil  Wood  and  Archil.  Alum  the  silk 
in  the  usual  way,  dip  it  in  a^ecoction  of  brazil,  wash 
and  beetle  it,  then  dip  it  in  archil  liquor;  again  wash 
and  beetle  it.  Then  give  it  a slight  dip  in  the  blue  vat; 
wring  it,  \vash  it  and  dry  it. 

The  Dutch  violets  are  dyed  with  archil,  and  then 
dipped  in  the  blue  vat.  The  brazil  saves  the  archil, 
but  should  only  be  used  when  a deep  shade  is  wanted. 
It  gives  a good  ground  for  the  archil  in  this  case, 
but  the  colour  is  not  so  lively  as  when  archil  alone  is 
used:  for  the  aluming  which  is  necessary  as  a mor- 
dant to  the  brazil,  saddens  the  colour. 

Fine  violets  are  never  dyed  on  raw  silk. 

Of  Purples  and  Jidy-fiowers.  Alum  the  boiled  silk 
as  usual.  Dye  it  for  two  hours  in  two  ounces  of  co- 
chineal to  the  pound  of  silk:  wash  and  beetle  it.  If  a 
purple  inclining  to  blue  is  wanted,  it  requires  only  to 
be  dipped  in  a weak  blue  vat,  after  which  wring  evenly, 
and  drv  the  silk  with  all  possible  expedition,  which  is 

2 E 


218 


a precaution  absolutely  necessary  for  all  colours  dipped 
in  the  vat.  But  the  vat  is  apt  to  produce  too  dark  a i 
shade,  and  therefore  the  liquor  of  the  vat  can  be  di- 
luted with  water  in  another  vessel,  and  the  bilk  dipped  | 
in  this  solution,  according  to  the  required  colour.  ' 

About  half  an  ounce  of  white  arsenic  is  usually  \ 
added  to  each  pound  of  silk,  to  assist  in  turning  the 
colour. 

The  shade  next  to  purple  is  July-Jlower  or  gilly- 
flower; then  grisdelin,  then  lighter  still,  peach  blossom:  i 

all  these  are  made  with  somewhat  smaller  proportions 
of  the  ingredients,  or  are  made  followers  to  the  deeper 
colours.  ; 

False  purples  are  alumed  slightly,  then  dipped  in  a 
decoction  of  brazil,  then  in  a decoction  of  archil, 
which  last  alone  would  be  too  violet.  For  browning 
the  colour,  logwood  is  used  in  the  brazil  liquor,  for 
dark  shades,  and  in  the  archil  liquor  for  light  ones. 

The  lightest  tints  of  purple  may  be  produced  with 
brazil  alone,  and  after  that  with  a slight  alkaline  solu^fl® 
tion;  but  the  addition  of  a little  archil  is  the  best  mode™^ 
of  dyeing  these  shades. 

Maroons,  Cinnamon,  TF'ine  Lees,  are  colours  pro- 
duced by  logwood,  fustic  and  brazil  woods.  For  cin- 
namon, the  boiled  silk  is  alumed,  then  a decoction  of 
each  of  these  woods  is  made  separately.  The  fustic 
decoction  makes  the  base  of  the  liquor,  to  which  add 
about  one-fourth  of  decoction  of  brazil,  and  one- 
eighteenth  of  decoction  of  logwood. 

This  liquor  should  be  of  a temperate  heat,  the  silk 
is  then  entered,  and  when  the  liquor  is  exhausted  of 


219 


colour  and  the  colour  even,  it  is  wrung  by  the  hand; 
it  is  then  put  on  rods  or  sticks,  a second  liquor  made, 
in  which  the  proportions  of  these  three  decoctions  are 
made  according  to  the  tint  called  for.  Fustic  gives  the 
yellow',  brazil  the  red,  logwood  the  darker  shades. 

Maroons  are  produced  exactly  in  the  same  way, 
only  the  colour  being  darker,  the  proportion  of  log- 
wood is  increased.  So  of  the  other  colours  of  similar  tint: 
their  varieties  can  be  produced  by  varying  the  pro- 
portions of  these  decoctions. 

The  fustic  liquor  spoils  soon  and  therefore  should 
be  used  fresh:  if  kept  too  long,  it  becomes  slimy,  tar- 
nished, and  puts  on  an  olive  hue;  when  it  does  so,  it 
may  be  somewhat  restored  by  reheating. 

Many  dyers  wash  the  silk  out  of  the  aluming,  at  the 
river,  before  it  is  dipped,  and  then  by  one  liquor  pro- 
duce these  several  colours;  but  the  following  method 
seems  better,  because  the  first  liquor  is  a sufficient 
wash,  and  the  silk  retaining  more  of  the  alum  takes 
the  dye  better.  Besides,  as  it  is  impossible  to  produce 
these  shades  but  by  perpetual  handling,  the  second 
liquor  may  be  useful  in  rectifying  the  defects  of  the 
first,  and  in  finishing  the  colour,  especially  the  fustic 
ground,  which  requires  the  alum  to  assist  in  raising  it 
sufficiently,  for  fustic  will  neither  dye  a fast  or  a 
bright  colour  without  a sufficient  mordant.  You  may 
therefore  dye  in  the  fustic  without  washing,  only 
wringing  evenly  and  moderately,  then  wash  after  the 
fustic,  and  dye  in  the  brazil  and  logwood  separately. 
The  marones  and  cinnamons  may  be  obtained  by  a 
different  method. 


220 


When  the  silk  is  boiled,  or  bleached  for  dyeing,  the 
grounds  of  the  annatto  may  be  dissolved  in  the  same"' 
soap  liquor  that  had  been  last  used  for  clearing  the  j 
silk.  The  annatto  should  be  strained  through  the  cul-M 
lender.  When  boiled  for  about  a quarter  of  an  hour,  it , ' 
should  be  left  to  settle:  the  silk  is  then  returned  into  j;^ 
this  liquor  without  having  been  washed;  it  then  ac- 
quires a yellow  ground.  It  is  afterwards  washed  and  a 
beetled  at  the  river  and  then  alumed  as  usual.  After 
this,  the  fustic,  brazil  and  logwood  liquors  are  given 
for  the  cinnamon,  but  for  the  marones  the  brazil  is] 
omitted,  unless  they  seem  to  want  red:  but  remember] 
that  the  alum  always  reddens  the  annatto.  If  they  are] 
too  red  without  the  brazil,  the  colour  can  be  saddened*] 
by  a very  small  quantity  of  copperas,  which  gives  it  a] 
greenish  colour:  you  must  therefore  use  your  logwood] 
decoction  cautiously,  that  you  may  be  able  by  means] 
of  copperas,  to  correct  the  reddish  colour  of  thej 
annatto. 

This  method  may  be  more  advantageous  than  the! 
first,  as  the  annatto  reddened  with  alum,  is  much  more 
solid  than  the  red  of  brazil.  Yj 

If  you  dye  raw  silk,  brown  or  marone,  the  natural] 
yellow  of  the  silk  is  no  prejudice  to  the  colour,  but] 
otherwise;  for  it  serves  as  a ground. 

Having  dipped  the  silk  as  usual,  proceed  as  for 
boiled  silk. 

Genoa  Crimson.  (Hellot.)  At  Genoa  the  silks  in- 
tended for  crimson  are  boiled  in  a much  less  quantity  , 
of  soap  than  those  intended  for  any  other  colour.  % 
Twenty  pounds  of  soap  sufficing  for  a hundred  pounds 


221 


of  silk  meant  for  the  crimson  dye.  For  any  other  co- 
lour, the  Genoese  use  forty  or  fifty. 

When  the  silk  is  boiled  it  is  dipped  in  the  alum 
liquor,  and  to  a quantity  of  silk  which  when  raw 
weighed  seventy-two  pounds,  they  put  from  sixteen 
to  eighteen  pounds  of  roach  alum  finely  powdered,  in 
a copper  full  of  cold  water.  When  the  alum  is  per- 
fectly dissolved,  they  put  in  the  silk,  and  let  it  soak 
in  the  alum  liquor  four  hours,  or  longer,  without  any 
inconvenience:  the  crimson  requires  more  perfect 
aluming  than  any  other  colour.  When  taken  out  of  the 
alum  liquor  it  is  shook  and  dressed  on  the  pegs,  but 
without  wringing,  which  would  leave  it  not  sufficiently 
impregnated  with  the  alum. 

Of  the  seventy-two  pounds  of  silk  above  mentioned, 
thirty-two  pounds  is  organzine,  the  remainder  woof. 
At  Genoa  it  is  the  custom  to  allow  two  ounces  of  co- 
chineal to  twelve  of  organzine,  if  designed  for  the 
warp  of  damask  furniture,  and  one  ounce  and  three 
quarters  of  cochineal  for  the  woof;  supposing  it  ne- 
cessary to  the  beauty  of  the  colour,  that  the  warp 
should  be  something  fuller  than  the  woof;  and  to  bring 
the  colour  of  the  damask  to  still  more  perfection,  they 
add  to  the  organzine  a quarter  of  an  ounce  of  cochi- 
neal to*  every  pound  of  silk,  that  is,  instead  of  two 
ounces  they  add  two  ounces  and  a quarter,  adding  no 
more  to  the  woof  than  an  ounce  and  three  quarters. 

As  the  above  thirty-two  pounds  of  organzine  should 
be  of  the  finest  colour,  they  allow  two  ounces  and  a 
quarter  of  cochineal  to  every  pound  of  silk:  so  that 
^ipon  the  whole  they  use  one  hundred  and  forty-two 


222 


ounces  of  cochineal,  or  eleven  pounds  ten  ounces: 
viz.  seventy-two  ounces  to  thirty-two  pounds  of  or- 
ganzine,  and  seventy  ounces  to  forty  pounds  of  wool. 

In  order  to  dye  these  seventy-two  pounds  of  silk 
alumed  as  above,  they  make  use  of  an  oval  copper,  ^ 
containing  when  full,  two  hundred  quarts  of  water;  f’' 
they  fill  this  two-thirds  full  of  soft  water,  adding  to  it»| 
two  ounces  of  tartar,  as  much  salFranum  or  safflower, 
and  two  pounds  and  a half  of  Aleppo  galls. 

They  wait  till  the  drugs  have  boiled  two  minutes  in 
this  liquor,  after  which  they  add  eleven  pounds  ten  ^ 
ounces  of  cochineal  finely  powdered  and  sifted;  and  , 


while  one  of  the  workmen  by  degrees  makes  it  sink  to  |! 


the  bottom,  another  keeps  violently  stirring  the  liquor  ! 
with  a stick  to  promote  the  solution. 

This  done,  they  fill  the  vessel  with  clean  water,  to  ;] 
about  a foot  of  the  edge;  immediately  afterwards  I 
dipping  the  thirty-two  pounds  of  organzine  divided  on^ 
fourteen  rods.  They  let  it  remain  till  the  vessel  which] 
they  fill  with  clear  water,  and  under  which  they  put 
large  fire,  is  ready  to  boil.  They  then  (to  make  the^* 
silk  take  the  colour  more  evenly)  raise  the  rods  with-j2 
out  ceasing  one  after  another,  that  each  may  alternately! 
reach  the  bottom  of  the  copper,  which  being  but  two-T 
thirds  full,  the  upper  part  of  the  silk  would  else  re-j 
main  out  of  the  liquor,  the  rods  being  supported  on] 
the  edge  of  the  copper. 

When  the  liquor  is  ready  to  boil,  the  forty  pounds 
of  woof  divided  on  eighteen  rods,  are  dipped;  raising 
the  rods  both  of  the  organzine  and  the  woof  one  after 
another  for  half  an  hour,  that  each  may  alternatel/ 


223 


reach  the  bottom;  so  that  when  the  workman  comes 
to  the  last,  he  returns  to  the  first,  and  so  on  suc- 
cessively. 

After  the  first  half  hour,  they  stop  for  a quarter  of 
an  hour  between  every  operation,  the  workman  still 
■ raising  the  rods  from  the  first  to  the  last,  five  or  six 
1 times  repeated  in  the  space  of  an  hour  and  a half;  all 
I the  time  keeping  a good  fire  under  the  copper.  The 
[ organzine  is  then  steeped  in  this  liquor  two  hours  and 
a quarter,  and  the  woof  only  two  hours.  The  fire  is 
then  drawn  from  under  the  copper,  and  the  W'orkman 
taking  out  one  dip  of  the  organzine  and  another  of  the 
! woof,  wrings  and  dries  them  as  much  as  he  can  to  see 
if  the  colour  be  what  he  wishes;  if  not,  the  silk  is  left 
for  half  an  hour  longer  in  the  copper.  The  silk  is  then 
taken  out,  wrung  on  the  peg;  washed  several  times  in 
' clear  water,  wrung  again  and  dried. 

■ It  must  be  observed  with  regard  to  the  organzine 
and  woof,  that  though  dyed  in  the  same  liquor,  they 
are  not  however  of  the  same  shade  at  the  conclusion 
of  the  operation,  the  organzine  being  deeper  from 
staying  a quarter  of  an  hour  longer  in  the  cochineal 
liquor. 

It  is  not  the  custom  at  Genoa,  to  wash  the  silk  out 
of  the  cochineal  with  soap  and  water;  on  the  contrary, 
they  are  persuaded  that  this  practice  dulls  the  bright- 
ness  of  the  colour,  and  that  the  water,  both  for  the  co- 
chineal liquor^  and  washing  afterward,  should  be  the 
finest  spring  water;  for  they  remark  that  the  crimson 
dyed  in  summer  with  cistern  water,  is  by  no  means 
so  bright  as  the  crimsons  dyed  at  other  seasons  when 
the  fountains  are  full. 


224. 


According  to  the  dyers  of  Genoa  there  is  a kind  of 
cochineal,  which,  though  apparently  beautiful,  is  not  | 
so  in  eft'ect.  That  in  using  this  cochineal  it  is  necessary  J 
to  alum  the  silk  as  much  as  possible,  and  to  add  to  it  I 
more  tartar  than*  before  mentioned.  It  is,  however,  im-  ; 
possible  to  lay  down  any  certain  rules  as  to  this  matter, 
as  the  dyer  himself  will  judge  of  the  quality  of  the 
cochineal  fit  for  his  use.  The  necessity  of  using  the  o 
very  best  cochineal  is  so  well  known,  that  the  Genoese  ;> 
manufacturers  do  themselves  furnish  to  the  dyers,  the 
cochineal  intended  for  the  parcel  of  silk  they  send.  ' 
Fine  Crimson  (cochineal  crimson.)  Macquer.  Silk  j 
intended  for  this  crimson,  should  have  only  twenty 
pounds  of  soap  to  the  hundred  pounds  of  silk,  and  no 
blue.  For  the  small  quantity  of  natural  colour  still  re- 
maining in  the  silk,  is  favourable  to  the  colour,  which 
is  enlivened  by  yellow.  ^ 

Soak  your  silk  when  boiled,  washed,  and  beetled,^ 
in  strong  alum  water  for  a whole  night:  then  wash  and* 
beetle  it  again.  M 

Fill  a long  boiler,  or  trough  of  metal,  two-thirds  full.^ 
of  soft  water.  Boil  it.  Throw  in  from  one  to  twor^ 
ounces  per  pound  of  silk,  of  white  nut  galls  well  ‘ 
bruised,  and  from  two  ounces  and  a half  to  three  ", 
ounces  of  sifted  cochineal.  It  is  seldom  necessary  to^  . 
use  quite  three  ounces.  Let  all  boil  together.  When  ' 
boiled  add  an  ounce  of  scarlet  composition  for  each  | 
pound  of  cochineal. 

Make  your  composition  thus:  aqua  fortis  one  pound, 
sal  ammoniac  two  ounces,  dissolved  in  twelve  ounces 
of  water.  Add  this  to  the  aqua  fortis,  and  dissolve  in 


225 


» the  mixture,  by  a little  at  a time,  six  ounces  of  grain 
t tin.  This  compo  ition  is  purposely  intended  to  con- 
I tain  more  tin  than  the  scarlet  composition  for  woollen, 

I'  but  it  is  absolutely  necessary. 

This  composition  being  put  in  the  liquor,  the  vessel 
I is  filled  up;  it  should  hold  eight  or  ten  quarts  to  each 
I pound  of  silk,  if  fine:  coarse  silk  requires  less.  In  this 
‘ liquor  turn  the  silk  uniformly,  about  half  a dozen 
times.  Then  bring  the  liquor  to  a boil  and  work  the 
I silk  in  it  for  two  hours.  After  this  draw  the  fire,  let 
the  liquor  gradually  cool,  keeping  the  silk  immersed 
I in  it  for  several  hours,  or  even  from  night  to  morning. 
Then  take  it  out,  wash  it,  beetle  it  twice;  wring  it, 
and  put  it  on  the  perches  to  dry. 

It  can  be  saddened  with  copperas  according  to  the 
shade  required.  It  should  be  turned  in  the  copperas 
liquor,  and  wrung  out  of  it,  and  dried  if  you  will 
without  washing.  The  copperas  deprives  the  cochi- 
neal of  its  yellow  colour  and  gives  it  a violet  hue. 
Nothing  but  copperas  is  fit  to  sadden  cochineal  scar- 
lets, which  it  does  by  means  chiefly  of  the  nut  galls 
employed  in  this  dye. 

This  is  the  best  method  of  obtaining  a beautiful 
shade  of  crimson,  but  as  many  dyers  proceed  in  the 
old  way,  we  shall  deseribe  it.  In  the  above  process  the 
crimson  is  fired  by  means  of  tin  composition;  and  it 
can  be  done  by  means  of  tartar;  but  in  the  common 
way,  it  is  done  by  means  of  annatto,  about  an  ounce 
to  a pound,  washed  through  a cullender.  In  other  re- 
spects the  process  is  the  same  as  above  given. 

2F 


226 


The  cochineal  used,  is  always  the  best  picked  co- 
chineal, which  is  in  all  respects  the  cheapest. 

Although  tartar  is  of  use  to  give  the  flame  colour  to 
cochineal,  yet  it  does  not  produce  it  so  well  as  the  tin 
composition.  But  if  you  use  an  over  proportion  of  tar- 
tar to  enliven  the  colour,  it  weakens  and  dissolves  it. 

Nut  galls  do  not  produce  a good  effect,  unless  you 
want  to  sadden  the  red  instead  of  enlivening  it;  but 
custom  sanctions  the  proportions  we  have  prescribed. 
But  nut  galls  give  the  silk  that  rustling  property  heard 
and  felt  on  handling  it:  an  effect  which  cannot  be  pro- 
duced with  brazil  wood,  of  which  the  colour  is  greatly 
injured  by  nut  galls.  So  that  you  may  be  sure  when 
you  find  this  rustling,  that  it  is  a cochineal  colour. 

Galls  moreover  greatly  add  to  the  weight  of  the  silk, 
making  it  take  up  more  colour.  So  that  even  when  it 
is  useless  for  the  tint  of  colour,  the  dyers  add  it  for  the  \ 
profit  it  affords  them.  White  galls  injure  the  colour  l 
less  than  black.  The  colour  is  much  more  improved  < 
by  permitting  the  silk  to  soak  for  some  hours  in  the  i 
liquor,  than  by  working  it:  but  it  requires  to  be  well 
washed  and  beetled  after  soaking. 

If  the  silk  were  not  twice  beetled  before  dyeing,  a 
quantity  of  superfluous  alum  would  remain  in  the  silk, 
which  would  injure  the  colour  of  the  bath  or  dye 
liquor. 

Cochineal  crimson  is  distinguished  from  brazil 
crimson,  first,  by  the  rustling  of  the  dyed  silk.  Se- 
condly, drop  a drop  of  vinegar  on  the  silk:  if  dyed 
with  cochineal  it  will  not  change:  if  dyed  with  brazil, 
it  will  turn  yellow. 


I 


227 

(Of  the  False  or  Brazil  Crimson.  This  is  not  quite 
so  beautiful,  far  less  durable,  more  changeable,  but 

Imuch  cheaper  than  the  red  or  crimson  produced  by 
cochineal.  It  is  therefore  on  some  occasions  a desira- 
I ble  mode  of  dyeing  red. 

( The  silk  unbleached,  should  be  boiled  with  twenty 
j pounds  of  soap  to  the  hundred  pounds  of  silk.  It  should 
( be  aliimed  as  usual,  but  not  quite  so  strongly  as  for 
1 grain  or  cochineal  crimson.  When  alumed  it  should 
I be  washed  and  cooled  at  the  river. 

Heat  some  water  in  the  copper;  meanwhile  prepare 
; a trough  with  a strong  decoction  of  brazil  wood,  half 
a bucket,  more  or  less,  to  the  pound  of  silk;  add  to  it 
warm  water  sufficient  to  work  the  silk  in;  enter  the 
silk;  work  it  in  this  liquor  till  it  takes  a red,  which 
will  be  more  crimson  if  the  water  be  hard,  and  less  so 
if  soft  water  be  used.  Sadden  this  colour,  by  running 
the  silk  through  a warm  solution  of  a pound  of  pearl 
ash  to  forty  or  fifty  pounds  of  silk.  Then  wash  it,  dry 
it  and  so  forth. 

The  brazil  decoction  is  usually  made  in  the  pro- 
portion of  a hundred  and  fifty  pounds  of  chipped  bra- 
zil, to  sixty  buckets  of  water,  boiled  for  three  hours. 
Then  turn  out  the  decoction  into  a barrel,  and  pour 
hot  water  again  on  the  chips  and  boil  them;  thus 
should  four  decoctions  in  all  be  taken  from  one  parcel 
of  chips.  (If  the  wood  be,  as  it  ought  to  be,  rasped,  it 
can  be  exhausted  at  twice  and  will  go  much  further. 
T.  C.)  The  decoctions  should,  or  may  be  mixed  to- 
gether: but  when  a black  skin  forms  on  the  surface,  it 
should  be  taken  off.  The  last  decoction  is  of  as  good 


I 


228 

a colour  though  not  so  strong  as  the  first.  It  is  usual 
to  keep  it  a fortnight  or  three  weeks,  till  it  undergoes 
a kind  of  fermentation  that  greatly  improves  the  co-  * 
lour.  Some  dyers  let  it  stand  three  or  four  months,  till 
it  becomes  thick  and  oily:  but  for  silk,  it  does  not  itn-^ 
prove  after  three  weeks.  When  used  fresh  it  gives  a ^ 
more  rosy  colour,  and  does  not  go  so  far.  Hard  watery 
and  alkaline  salts,  crimson  the  colour  of  brazil.  The 
brazil  of  St.  Martha,  is  redder  and  deeper  coloured 
than  that  of  Fernambouca,  but  it  is  not  so  good. 

Orange  Reds;  Cherry  Reds;  Pink  Reds:  are  made 
by  mixtures  of  cochineal  or  brazil  red  with  yellows: 
or  with  the  pink  of  safflower.  The  yellow  being  an- 
natto  or  turmeric. 

Violet  Crimson  of  Italy.  The  silk  being  alumed  as 
for  red  crimson,  take  it  out  of  the  aluming  and  dye  it 
with  cochineal.  For  this  purpose  dissolve  two  ounces 
of  gum  arabic  in  the  copper,  and  take  for  every  pound'  Vj 
of  silk  two  ounces  of  cochineal,  one-third  of  an  ounce 
of  agaric,  and  as  much  turmeric.  Mix  and  pour  them  /'*i 
into  your  copper;  when  they  begin  to  boil,  and  the 
gum  is  perfectly  dissolved,  arrange  your  silk  on  the 
rods,  and  immerse  it  in  the  copper,  let  it  boil  for  two 
hours,  and  it  is  then  dyed.  Let  it  grow  cold,  wash  it 
and  wring  it  on  the  peg,  then  wash  it  again  lightly. 

To  make  it  violet  plunge  it  into  the  blue  vat  to  make 
it  a fine  violet.  Then  wash  it  well  in  clear  water,  and 
dry  it  when  opened  and  spread  out,  in  the  air,  but  not 
in  the  sun.  (I  doubt  whether  the  silk  ought  ever  to  be 
brought  to  a full  boiling  heat.  T.  C.) 

Half  Violet.  For  one  pound  of  silk,  use  one  pound 


229 


and  a half  of  archil,  mix  it  well  in  the  liquor;  make  it 
boil  for  a quarter  of  an  hour,  dip  the  silk  quickly;  let 
it  cool;  wash  at  the  river,  and  you  will  have  a half  vio- 
let or  laylock  more  or  less  full. 

Fine  Crimson,  Homassel.  (N.  B.  Fine  crimsons  are 
cochineal  crimsons.)  These  crimsons  are  dyed  upon 
boiled  silk.  Sometimes  the  hue  of  the  pattern  is  such, 
that  the  silk  must  be  boiled  expressly  for  this  colour, 
as  we  may  want  to  give  it  a ground  of  annatto. 

Crimsons  are  also  dyed  on  silk  bleached  for  white; 
they  all  take  the  same  quantity  of  cochineal,  but  the 
silks  boiled  out  of  their  gum,  and  grounded  with  an- 
natto, will  be  deeper  than  those  dyed  upon  white. 

The  silks  are  alumed  very  strongly,  and  washed 
several  times  at  the  river,  (which  I think  only  serves 
to  wash  away  the  alum.  T.  C.)  Fill  your  copper  with 
clear  water  two-thirds  full;  arrange  all  your  silk  on  rods 
or  sticks.  Bruise  and  sift  your  cochineal,  two  ounces 
to  the  pound;  adding  also  one  ounce  of  white  nut  galls. 
Boil  the  cochineal  and  galls  a quarter  of  an  hour,  not 
more.  (This  is  not  enough  to  get  out  half  the  virtue 
of  the  galls.  T.  C.)  Fill  the  boiler,  arrange  your  hanks 
of  silk,  resting  them  on  the  edge  of  the  boiler.  Half 
an  hour  afterward,  raise  the  fire  so  as  to  make  the 
liquor  boil  an  hour  or  more.  This  colour  requires  two 
hours  in  all  in  the  boiler:  at  the  end  of  this  time,  the 
colour  ought  to  have  acquired  its  perfect  shade. 

When  fine  crimsons  are  washed  and  dyed,  they 
ought  to  have  the  same  handling  as  roses  and  bright 
coquelicots:  that  is,  they  should  rustle  when  handled. 

It  may  be  well  to  remark,  that  the  patterns  do  not 


230 


always  require  a deep  crimson,  but  frequently  a crim- 
son bearing  upon  yellow.  In  that  case,  you  may  put 
into  the  copper  with  the  cochineal  and  galls,  a quarter 
of  an  ounce  of  scarlet  composition  to  the  pound  of 
silk;  sometimes  a little  more. 

Bright  Violets^  are  made  by  giving  crimsons  a dip 
in  the  blue  vat.  For  this  purpose,  the  crimson  should 
be  as  deep  as  possible.  In  entering  them  into  the  blue 
vat,  take  care  to  observe  the  precautions  I have  sug- 
gested upon  blue  dyeing,  otherwise  you  will  be  apt  to 
subject  yourself  to  a serious  loss,  both  of  the  crimson 
and  the  colour  of  the  vat. 

Bright  Puces,  are  dyed  on  the  same  principles  with 
annatto  crimsons;  but  in  lieu  of  white  galls,  put  in  two 
ounces  per  pound  of  black  galls:  when  the  crimson  is 
thus  dyed,  it  is  brought  to  a puce  colour  by  a little 
copperas  dissolved  in  cold  water. 

You  must  take  care  in  stringing  and  working  the 
hanks,  otherwise  they  will  streak  by  taking  the  air 
uaequally. 

The  copperas  also  must  be  previously  dissolved,  and 
added  by  a little  at  a time,  raising  all  the  silk  out  of 
the  bath  or  liquor  every  time  you  put  any  of  the  solu- 
tion  in;  stirring  it  to  mix  it  equally.  When  the  puce 
colour  is  sufficiently  raised,  wash  and  dry  the  goods. 

Light  shades  of  brown  are  also  given  upon  crimson; 
but  they  do  not  answer  to  the  beauty  of  brown  colours; 
this  shows  that  for  silks  dyed  in  cochineal  the  colours 
must  be  full  and  deep  to  have  their  proper  effect;  and 
that  all  silk  dyed  with  less  than  two  ounces  of  cochi- 
neal to  the  pound  of  silk,  has  not  yet  received  its  per- 
fect hue. 


r 


231 

] Of  Scarlet  on  Silk.  Homassel.  To  dye  scarlet  on 
silk,  take  as  many  pounds  of  wool  as  you  mean  to  dye 
of  silk.  The  wool  at  sixteen,  the  silk  at  twelve  ounces 
to  the  pound.  Dye  this  woollen  yarn  of  a scarlet  co- 
lour as  follows. 

For  the  preparation  bath,  use  for  each  pound  of 
! woollen  yarn  one  ounce  of  cochineal,  a quarter  of  an 
I ounce  of  madder,  three- eighths  of  an  ounce  of  tur- 
j meric,  two  ounces  of  cream  of  tartar,  and  three  ounces 
\ of  scarlet  composition.  (Tin  in  aqua  regia.) 

I Boil  the  yarn  two  hours  and  a half;  wash  and  beetle 
I it  at  the  river,  and  then  give  it  the  red  dye  without 
I drying  it.  For  this  red  dye,  use  an  ounce  of  cochineal, 

I three  ounces  of  composition,  an  eighth  of  an  ounce  of 
turmeric,  and  a quarter  of  an  ounce  of  madder. 

You  may  boil  for  a little  more  than  ten  minutes 
without  danger  of  tarnishing,  to  make  the  yarn  take 
up  the  cochineal  as  fully  as  possible.  Then  take  it  out 
of  the  liquor,  wash  it,  beetle  it,  and  dry  it. 

Then  charge  a boiler  about  the  same  size  with 
water;  put  into  it  four  ounces  of  alum  per  pound  of 
wool,  and  boil  the  coloured  wool  in  it,  till  the  colour 
is  all  extracted.  Take  out  the  wool,  cool  the  bath  to 
a scald,  enter  the  silk  bleached  white  by  boiling,  and 
it  will  take  up  all  the  colour  which  has  been  extracted 
from  the  wool. 

If  they  are  not  sufficiently  yellow,  they  may  be  en- 
livened with  safflower  and  lemon  juice,  which  also 
enlivens  the  cochineal  colour.  Or  the  silk  may  be 
tinged  with  turmeric  dissolved  in  spirit  of  wine  with 
'lemon  juice.  If  the  colour  be  not  red  enough,  the  rea- 


232  , 


son  is  that  you  have  attempted  to  dye  too  much  silk 
for  your  proportion  of  colouring  materials. 

Of  Pink  from  safflower.  Homassel.  This  plant  is 
grown  in  the  departments  of  Aude  and  Herault,  in  ^ 
France.  It  contains  two  colours,  a dull  yellow  that  is''| 
perfectly  soluble  in  water,  and  a pink-red  soluble  inV 
alkaline  salts.  The  yellow  colour  is  sometimes,  but  not  j 
often  used,  for  it  is  not  so  cheap  or  convenient  asm 
turmeric.  ^ 

The  saffranum  or  safflower,  cannot  be  used  for  redsTa 
till  all  the  yellow  colour  is  completely  extracted.  For 
which  purpose  it  is  put  in  a bag,  and  tramped  either, 
in  the  current  of  the  river  or  in  a trough  through 
which  a current  of  water  passes.  Two  bags  of  saf- 
flower, containing  eight  pounds  each,  will  occupy  the' 
whole  day  of  a man  accustomed  to  this  operation. 
The  beauty  of  the  colour  depends  on  the  accuracy  ofj 
this  washing.  In  the  country,  the  bags  can  be  fastened 
to  a water  wheel,  and  left  in  that  situation  the  whole 
day,  when  the  yellow  colour  will  be  sufficiently  ex- 
tracted. Take  care  you  do  not  wash  it  just  below  a 
bleachery,  lest  the  alkali  used  for  bleaching,  should 
extract  all  the  colour. 

The  safflower  is  then  put  on  a cloth  stretched  on  a 
frame,  and  two  ounces  per  pound  of  potash,  or  even 
two  ounces  and  a half;  it  is  best  put  on  in  powder,  and 
well  mixed  with  the  safflower;  if  you  are  not  pressed 
for  time,  let  them  remain  together  for  two  hours  be- 
fore you  add  any  water.  (I  do  not  think  this  practice 
so  good  as  that,  where  the  potash,  dissolved  in  a small 
quantity  of  water,  is  mixed  with  the  safflower,  and 


233 


made  into  a kind  of  paste.  T.  C.)  There  must  be  a 
tub  underneath  to  catch  the  drops  of  liquid  that  soak 
through.  When  the  safflower  is  well  mixed  with  the 
alkali,  pour  water  on  it,  and  wash  the  mixture  just  as 
you  would  a quantity  of  wood  ashes  to  make  a ley. 
The  liquid  should  be  in  quantity  proportioned  to  the 
silk  you  mean  to  dye.  The  safflower  is  not  exhausted 
t till  it  assumes  the  colour  of  wet  bran. 

The  liquor  that  passes  is  not  of  a red  colour,  but  a 
brownish  yellow,  and  you  would  in  vain  attempt  to 
dye  with  this.  The  colour  would  run  off  from  the  silk 
as  it  ran  off  from  the  safflower.  The  alkali  that  holds 
it  in  solution  must  be  neutralized  by  an  acid  of  some 
kind.  The  best  acid  is  lemon  juice.  If  you  have  none 
of  this  or  of  vinegar,  add  with  caution  very  dilute  ni- 
I trie  or  sulphuric  acid,  taking  care  that  the  fermenta- 
1 tion  or  effervescence  is  not  too  suddenly  excited. 
When  this  effervescence  is  over,  the  liquor  assumes  a 
bright  rose  colour.  (In  England  this  colour  is  called 
pink,  I believe  exclusively.  T.  C.) 

The  silk  dyed  in  this  liquor,  should  be  bleached 
white,  without  blueing.  There  must  be  no  remains  of 
the  natural  vellow  of  unbleached  or  half  bleaehed  silk. 
The  silk  is  worked  in  this  bath,  till  it  has  extracted 
all  the  colour.  It  should  be  used  cold. 

These  rose  colours  are  numbered  from  one  to  ten, 
which  vary  in  their  price,  according  to  the  depth  of 
colour,  and  the  price  of  safflower.  The  deepest  colour 
is  the  Coquelicot,  which  cannot  be  dyed  of  a full  tint 
under  four  pounds  or  four  pounds  and  a half  of  saffron 
to  the  pound  of  silk.  Sometimes  a ground  of  annatto 

2 G 


234 


is  given  before  the  snfflower  is  dyed.  The  acid  red- 
dens the  annatto  as  well  as  the  safflower. 

To  ascertain  exactly  the  ground  of  annatto  neces- 
sary to  be  given  previous  to  the  safflower,  when  you 
dye  to  pattern,  tear  off  a small  piece  of  the  pattern,  let 
it  soak  in  water  wherein  some  alkali  is  dissolved:  the 
alkali  will  wash  out  all  the  pink  colour  of  the  safflower, 
and  leave  behind  the  yellowish  colour  of  the  annatto. 
Keep  this  by  you  in  a moist  state,  and  then  you  can 
give  to  the  silk  you  mean  to  dye,  precisely  the  same 
tone  of  annatto  colour. 

If  in  dyeing  your  silk,  you  have  failed  in  any  re- 
spect, soak  it  in  a dilute  alkaline  solution,  and  this 
will  extract  all  the  pink  colour;  which  you  may  again 
neutralize  with  an  acid,  and  use  for  dyeing  afresh. 

It  may  be  useful  sometimes  to  brighten  the  colour 
by  passing  it  through  warm  lemon  juice  and  water, 
or  vinegar  and  water;  even  warm. 

Of  all  acids  for  the  purpose,  lemon  juice  is  the  best: 
but  it  is  sometimes  difficult  to  be  procured,  and  it 
will  not  pay  to  use  the  juice  of  fresh  lemons  for  the 
purpose.  (I  am  persuaded  from  experience,  that  next 
to  vinegar  the  best  acid  is  cream  of  tartar,  in  point  of 
quality  combined  with  cheapness.  I have  not  tried 
acid  of  sorrel.  Common  vinegar  does  not  produce  a 
good  colour,  but  a better  than  any  of  the  mineral 
acids,  such  as  the  sulphuric,  nitric  or  muriatic.  Dis- 
tilled vinegar  mixed  with  lemon  juice,  produces  a 
tolerable  good  colour;  next  in  beauty  to  lemon  or  lime 
juice.  In  France  they  procure  the  lemon  juice  from 


■ Provence:  vve  might  procure  it  in  our  seaport  towns 
' from  the  West  Indies.  T.  C.) 

i .The  merchants  who  deal  in  “ Vegetable  Rouge,” 

) where  the  colour  requires  to  be  produced  of  the 
j utmost  brilliancy,  always  precipitate  the  safflower 
pink  with  filtered  lemon  juice.  Some  make  use  of 
j vinegar,  but  the  colour  is  inferior.  They  proceed 
I thus: 

j They  use  the  best  safflower,  and  the  purest  pearl 
I ash.  (They  should  use  the  salt  of  tartar,  for  pearl  ash 
|i  now  and  then  contains  iron.  T.  C.)  The  safflower  is 
I very  accurately  washed  in  the  purest  water:  they 
I make  their  safflower  ley  very  strong,  subjecting  the 
I safflower  to  a press,  to  procure  all  the  liquid  colour. 

I To  three  parts  by  measure  of  the  alkaline  ley  of  saf- 
j flower,  they  use  one  part  of  lemon  juice.  This  they 
; leave  to  settle  in  china  bowls,  till  the  supernatant 
j liquor  is  quite  clear,  which  they  draw  off  by  means  of 
a glass  siphon. 

When  they  have  drawn  off  as  much  of  the  fluid  as 
they  can  by  this  means,  they  add  together  the  sedi- 
ments of  the  operation,  which  have  now  acquired  a 
certain  consistence.  On  this  sediment,  still  liquid, 

I they  place  a piece  of  very  fine  white  muslin,  or  any 
I other  kind  of  filtering  cloth  that  will  soak  up  the  mois- 
! lure,  and  prevent  the  sediment  from  passing  through: 

1 on  this  muslin,  cut  to  the  size  of  the  surface  it  is  to 
cover,  (for  if  it  hangs  over  the  sides,  the  liquor  and 
the  colour  will  filter  over,)  they  put  clean  blotting 
paper,  and  on  the  top  of  that  a sponge,  which  occa- 
sionally they  press  gently,  so  as  to  imbibe  the  mois- 


236 


ture;  by  this  means  the  colour  is  dried,  free  from  dust 
and  access  of  air.  When  sufficiently  dry,  it  is  put  into 
china  cups,  and  packed  up  for  sale. 

The  colour  may  be  dried  on  straw  filters  fabricated 
on  purpose,  and  in  the  form  of  grains. 

For  the  rouge  used  by  women,  the  finest  Venetian 
talc  is  reduced  to  an  impalpable  powder  (etant  rape 
sur  de  la  Perelle.  I do  not  know  what  the  Perelle  is. 
T.  C.)  which  is  dyed  to  whatever  depth  of  colour  you 
please  with  the  coloured  liquor  of  the  precipitated 
safflower.  It  is  then  dried  on  small  earthen  or  china 
cups  made  on  purpose,  and  thus  sold. 

Of  the  False  Poppy  or  Fire  Colour^  of  brazil  wood. 
Ratine.  This  colour  is  produced  on  boiled  silks  as 
for  common  colours.  It  should  have  the  annatto 
ground  of  a tolerable  shade,  stronger  than  for  the  fine 
poppy,  because  the  red  of  brazil  wood  is  yellower 
than  the  red  of  safflower;  the  shade  given  by  this 
ground,  is  almost  a demi-aurora.  It  is  however  ad- 
viseable  as  well  for  the  false  as  the  solid  poppy,  when 
a proper  ground  is  obtained,  to  keep  a skein  by  way 
of  pattern,  and  to  serve  for  a future  guide. 

Give  a full  colour  of  annatto  as  a ground.  Wash 
and  beetle  it.  Alum  it  as  usual;  wash  and  beetle  it;  then 
dye  it  with  brazil  to  the  shade  you  wish;  adding  to  the 
brazil  liquor,  a small  quantity  of  soap  and  water.  If 
you  want  it  browned,  add  a deeoction  of  logwood  to 
the  decoction  of  brazil. 

The  soap  added  to  the  brazil,  improves  the  shade 
of  the  colour,  and  takes  off  the  harshness  to  the  touch, 
which  the  aluming  is  apt  to  give.  Some  dyers  instead 


237 


of  soap,  throw  in  a small  quantity  of  powdered  nut 
galls,  which  they  think  produces  the  same  effect;  but 
the  greater  number  prefer  soap.  (Macquer.) 

False  Rose  Colours.  Alum  your  boiled  silk,  wash  it 
as  usual  after  wringing  it:  then  dye  it  in  decoction  of 
I brazil.  This  is  a very  inferior  colour,  but  as  all  kinds 
of  colour  are  wanted,  so  is  this  sometimes  among  the 
. rest. 

I 1 do  not  know  whether  the  other  red  woods  have  been 

I tried.  I suspect  the  nearest  imitation  of  safflower  pink, 

, may  be  given  by  peach  wood,  which  the  English 
printers  now  use  for  a second  chemical  red,  and  which 
I have  suspected  in  the  pink  reds  of  some  Swiss 
, prints.  Safflower,  however,  would  be  cheap  enough  in 
America,  if  it  were  grown  there;  which  it  surely  can 
be,  as  well  as  in  France. 

Of  Black.  Homassel.  All  silk  dyers  have  a boiler 
or  cauldron  on  purpose  for  black.  (So  should  all 
woollen  and  cotton  dyers.  T.  C-) 

This  black  vat,  holding  about  thirty-six  buckets,  is 
filled  with  the  hatters’  black  dye  (which  I have  already 
given,  T.  C.)  to  which  they  add  twenty  pounds  iron 
filings,  twenty  pounds  of  agaric,  (I  do  not  know  why 
this  is  used  in  preference  to  galls:  it  is  a fungus  of  the 
oak,  T.  C.)  twelve  pounds  of  green  copperas,  and  six 
pounds  of  gum  arabic:  this  vat  remains  always  thus 
filled,  being  from  time  to  time  refreshed  with  similar 
ingredients  in  the  same  proportion. 

To  dye  silk  black,  four  ounces  of  galls  are  boiled 
in  water  during  two  hours  for  each  pound  of  silk.  Wet 
the  silk  in  the  clear  part  of  this  bath  or  liquor  before 


238 


you  enter  the  silk.  Then  plunge  the  silk  in  this  gall 
liquor,  where  it  may  remain  eight  or  ten  hours.  Take 
it  out,  wring  it;  heat  the  gall  liquor  again;  and  again 
plunge  in  the  silk  as  before  in  the  clear  part  of  the 
liquor,  letting  it  remain  the  same  length  of  time. 

The  silk  being  thus  twice  galled,  heat  to  boiling 
the  black  liquor  in  the  black  vat,  stirring  it  well,  that 
the  sediment  may  not  burn  to  the  bottom,  for  it  would 
occasion  the  bottom  to  burn  out.  Dye  the  galled  silk 
in  this  colour,  repeatedly,  airing  it  also  after  each  dye- 
ing, until  the  colour  is  what  you  wish. 

The  gum  and  the  galls  give  an  addition  of  twenty- 
five  per  cent,  which,  as  the  dyer  returns  to  the  mer- 
chant weight  for  weight  of  silk,  allows  a good  profit 
on  the  black  dye. 

Raw  silk  is  not  galled,  it  is  dyed  at  once  in  the 
black  without  any  preparation:  the  liquor  should  be 
hot. 

Before  the  silks  are  returned  to  the  merchant,  each 
skein  should  be  wrung  on  the  peg,  to  soften  the  silk, 
made  harsh  by  the  dye;  it  also  improves  its  appearance. 
Then  weigh  it.  The  manufacturer  or  merchant  is  not 
entitled  to  more  than  weight  for  weight. 

When  the  silk  is  dyed  it  is  sent  to  the  silk  dresser 
to  give  it  softness  and  lustre.  This  is  done  principally, 
by  twisting  the  skeins  against  each  other,  in  pig- tail 
fashion;  they  are  then  separated  and  made  up  in  par- 
cels of  about  a pound  each.  (See  hereafter  the  process 
of  softening  black  silk.  T.  C.) 

Such  is  Homassel’s  process.  I should  substitute 
sumach  for  agaric.  Lewis  in  his  Commercium  Philo- 


239 


sophico-technicum,  says  that  the  colour  is  improved 
by  the  addition  of  logwood  and  verdigris,  which  I can 
easily  believe. 

The  processes  for  dyeing  silk  black  given  by  Mac- 
quer,  as  the  methods  usually  followed  by  the  silk 
dyers,  are  so  complicated,  and  so  unscientific,  that  I 
think  it  needless  to  copy  them.  Bcrthollet,  however, 
has  given  the  substance  of  them,  with  the  obvious  re- 
mark, that  many  of  the  ingredients  are  now  disused, 
although  each  dye-shop  has  its  own  receipt  for  the 
purpose. 

The  following  observations  however,  of  Messrs. 
Berthollet,  (father  and  son)  are  worth  translating. 

Macquer  describes  a process  for  dyeing  black  much 
more  simple,  which  is  used  for  dyeing  the  black  silks 
and  velvets  of  Genoa;  and  somewhat  improved  in  the 
following  receipt,  which  has  been  practised  with  suc- 
cess at  Tours. 

For  fifty  pounds  of  silk  (I  presume  boiled,  or  half 
bleached)  proceed  thus.  Take  ten  pounds  of  powdered 
Aleppo  galls,  and  boil  them  for  an  hour  in  a sufficient 
quantity  of  water.  (An  hour  is  hardly  enough  if  they 
are  only  bruised.  T.  C. ) Let  the  liquor  rest  till  the 
galls  have  fallen  to  the  bottom,  when  they  are  to  be 
taken  out.  Then  put  in  fifteen  pounds  of  green  cop- 
peras, six  pounds  of  iron  filings,  and  ten  pounds  of 
gum.  The  gum  broken  into  small  lumps,  is  put  into 
a cullender  with  two  handles,  which  must  be  sus- 
pended in  the  boiler  by  sticks  so  as  not  to  touch  the 
bottom.  (The  gum  is  directed  to  be  the  gum  of  the 
country,  such  as  plumb  tree  or  cherry  tree  gum.  It  is 


240 


a large  proportion,  if  gum  arabic  or  Senegal  be  em- 
ployed. T.  C. ) The  gum  is  left  to  dissolve  during  aiiw 
hour,  stirring  it  from  time  to  time.  If  at  the  end  of« 
that  time,  there  still  remains  some  gum  in  the  cul-  M 
lender,  it  is  a sign  that  the  liquor  has  taken  up  enoughj® 
if  not,  a pound  or  two  more  must  be  put  in  the  cullen-'^ 
der,  which  is  left  continually  suspended  in  the  boiler, 
except  when  you  are  about  to  dye;  and  when  you 
have  finished  dyeing  it  must  be  restored  to  its  place 
in  the  boiler:  during  all  these  operations  the  liquor  is 
kept  not  at  a boiling,  but  scalding  heat. 

The  previous  galling  is  performed  with  a third  part 
of  the  weight  of  the  silk  of  Aleppo  galls,  boiled  as 
usual  for  about  two  hours;  the  silk  is  left  in  it  to  soak 
for  six  hours.  (This  galling  should  be  repeated  as 
Homassel  prescribes.  I believe  this  repetition  is  always 
necessary,  whatever  proportion  of  galls  be  used.  This 
receipt  is  very  different  from  the  English  translation 
of  Macquer.  T.  C.)  Lewis  says  he  has  repeated  this 
process,  adding  more  green  copperas,  and  repeating 


the  immersions  several  times.  (Indeed,  as  I have  urged 
repeatedly  under  the  article  of  dyeing  black  on  wool- 
len, no  good  colour  can  be  expected,  unless  by  means 
of  repeated  immersions  in  the  black  dye,  and  patient 
airings  afterward.  T.  C.) 

The  quantity  of  sulphat  of  iron,  says  Berthollet,  is 
doubtless  too  small:  and  Lewis  thinks  the  gum  in  too 
great  a proportion,  which  may  be;  but  the  gum  never- 
theless keeps  up  the  proper  state  of  the  bath:  an  ad- 
ditional proportion  of  sulphat  of  iron  can  be  put  in,  at 
each  renewed  boiling,  if  it  be  necessary. 


241 


I'his  process  will  give  a good  colour,  says  Lewis, 
vithout  logwood  and  verdigris,  but  a better  with 
hese  ingredients;  which  is  doubtless  true. 

7'he  quantity  of  galls  here  prescribed,  must  make 
his  dye  very  expensive.  It  is  of  importance  therefore 
;o  diminish  the  quantity.  This  object  is  attempted  to 
' DC  attained  in  the  following  process  of  M.  D ’Angles, 

I which  was  one  of  the  prize  dissertations  offered  to  the 
I academy  of  Lyons  in  1776. 

' Make  a strong  decoction  of  walnut  rind,  by  boiling 
it  for  a full  quarter  of  an  hour;  then  draw  the  fire,  and 
j when  the  ebullition  subsides,  put  in  the  silk  previously 
I boiled  or  half  bleached,  and  moistened  in  warm  water. 

! Let  the  silk''soak  in  this  liquor,  till  it  has  imbibed  as 
much  colour  as  it  will  take  up.  Wring  it  upon  the  peg, 
and  wash  it  at  the  river:  do  not  wring  it  very  hard. 
Then  dye  it  a logwood  blue,  with  the  proportion  of 
one-sixteenth  the  weight  of  the  silk  of  verdigris  dis- 
solved in  cold  W'ater,  wherein  soak  the  silk  for 
hours;  then  dye  h \r  ^ 


.....  way 


-^alte  sott. 

To  prepare  the  dye  liquor,  let  two  pounds  and  a 
quarter  of  galls,  and  three  pounds  and  a quarter  of  su- 
mach, macerate  in  a gentle  heat,  in  one  hundred  quarts 
of  water,  for  twelve  hours.  When  the  liquor  is  clear, 
and  the  sediment  taken  out,  dissolve  in  it  three  pounds 
and  a quarter  of  sulphat  of  iron,  and  as  much  gum 

2H 


242 


arabic:  when  all  is  perfectly  dissolved,  enter  the  silk  ii 
and  let  it  be  worked  in  this  dye  liquor  for  two  hours,  : 
when  it  must  be  taken  out,  opened  and  well  aired  till 
it  has  acquired  as  deep  a black  as  the  air  will  give  it: 
then  let  it  dry,  and  again  pass  it  through  the  dye  ; 
liquor  for  two  hours;  again  open  it,  air  it,  wash  it, 
beetle  it  twice,  and  then  dry  it.  Pass  it  again  into  the 
same  dye  liquor,  and  let  it  remain  four  or  five  hours:  , 

drain  it,  wash  and  beetle  it  twice  (taking  care,  however, 
previously  to  air  it  well.)  The  heat  should  not  exceed 
125°  of  Fahrenheit’s  thermometer.  Also,  before  the 
two  last  dyeings,  add  to  the  dye  liquor  about  three 
quarters  of  a pound  of  sulphat  of  iron  and  as  much 
gum  arabic.  (If  the  stuff  be  not  previously  galled,  this 
quantity  of  sulphat  of  iron  is  very  great  in  proportion  to 
the  galls  and  sumach.  T.  C.) 

To  deprive  the  silk  of  the  harshness  which  this 
process  is  apt  to  give,  it  is  boiled  in  a solution  of 
soap,  or  in  a decoction  of  weld.  M.  D’Angles  prefers^ . 
the  latter,  (for  which  in  this  country  quercitron  mayjji 
be  substituted.) 

M.  D’Angles  asserts,  that  if  the  silk  be  previously  - 
dyed  blue  in  the  indigo  vat,  it  will  only  take  a mealy 
kind  of  black  with  the  usual  black  dye;  but  if  it  first 
receives  a blue  ground  with  logwood  and  verdigris,  a 
full  velvety  black  is  obtained.  He  says  also,  that  the 
walnut  rind  softens  the  silk.  That  although  a good 
black  can  be  obtained  when  the  silk  is  first  grounded 
W’ith  walnut  rind,  and  then  dyed  in  the  black  dye 
above  described,  yet  the  logwood  and  verdigris  pre- 
vents the  necessity  of  so  much  green  copperas  or  sul- 


243 


phat  of  iron,  which  makes  the  silk  harsh  to  the  touch, 

' and  wears  it.  He  is  also  of  opinion  that  the  nut  galls 
^ are  of  use  indeed  to  give  weight  to  the  silk,  but  that 
in  point  of  colour  they  can  be  superseded  by  a suffi- 

\ cient  quantity  of  sumach. 

I i (All  these  remarks  of  M.  D’Angles,  are  so  reasona- 
ble, that  I have  no  doubt  of  the  truth  of  them;  nor  do 
I see  any  objection  to  his  process  but  the  expense  of 
the  galls,  which  is  made  up  by  the  additional  weight 
they  give  to  the  silk,  where  the  dyer  delivers  his  silk 
by  weight.  The  objection  I have  to  the  process  is,  that 
the  quantity  of  sulphat  of  iron  prescribed,  amounts  to 
four  pounds,  and  the  galls  and  sumach  together  to  no 
more  than  about  five  pounds.  If  the  silk  be  previously 
galled  this  may  be  remedied,  but  I hold  it  univer- 
sally true  that  the  proportion  of  galls  ought  to  be  at 
the  very  least  three  times  that  of  the  sulphat  of  iron. 
Dr.  Lewis  has  ascertained  by  direct  experiment,  that 
a less  proportion  will  not  make  a permanent  ink;  and 
I know  of  no  difference  between  ink  and  the  black 
dye  for  silk.  In  all  other  respects  I have  no  doubt  of 
the  propriety  of  this  process  of  M.  D’Angles,  except 
indeed  that  in  galling  the  silk  one  half  its  weight  of 
galls  is  a very  unnecessary  quantity.  There  are  no 
experiments  yet  made  to  determine,  what  quantity  of 
galls  a given  portion  of  silk,  woollen,  or  cotton  will 
take  up  to  produce  saturation;  the  same  of  alum.  But 
I suspect,  that  if  the  galls  or  the  alum  are  in  greater 
proportion  than  the  fourth  of  the  weight  of  the  cloth, 
they  are  wasted.  Until  this  be  tried,  what  I have  sug- 
gested is  conjecture  only;  except  as  to  the  aluming  of 


244 


woollen,  on  which  point  I ascertained  that  no  propor-  i 
tion  of  alum  beyond  a fourth  appeared  of  any  use,  or  j| 
to  give  any  additional  weight.  I think  three  ounces  to  f 
the  pound  nearly  the  proper  proportion.  More  can  be  tl 
taken  up  when  tartar  is  used  than  without;  the  tartar  I 
seems  to  obstruct  the  crystallization  of  the  alum.  j 

Upon  the  whole,  it  appears  to  me  that  the  best  pro- 
cess for  black  on  silk  is,  to  give  the  silk  a ground  of  | 
walnut  rind:  then  a deep  logwood  blue,  which  can  be  | 
done  by  adding  the  verdigris  to  the  logwood  decoction  I 
and  dissolving  it  therein;  then  the  black  dye,  either  of  | 
Homassel,  or  any  other  wherein  the  galls  are  in  pro-  I 
portion  to  the  copperas  as  four  to  one:  this  will  take 
three  separate  immersions  at  least  in  the  black  dye, 
with  subsequent  airings,  and  washings:  always  recol- 
lecting that  if  the  goods  of  whatever  kind  are  not  aired 
out  of  the  black  dye,  that  black  dye  will  be  in  part 
washed  out.  Unoxygenated  gallat  of  iron  is  soluble  in 
water,  does  not  precipitate,  is  not  black;  gallat  of  iron 
exposed  to  the  atmosphere  becomes  black,  precipi- 
tates, and  is  not  easily  washed  away.  The  gallat  of 
iron  in  the  dye  bath  is  but  imperfectly  oxygenated. 

T.  C.) 

Although  Macquer  says  that  the  process  he  gives 
for  dyeing  black,  is  the  common  process  used  at  se- 
veral dye-houses,  and  that  it  has  succeeded  with  him, 
yet  no  chemist  surely  can  read  the  following  list  of 
drugs  to  be  put  into  the  dye  copper,  without  being 
persuaded  that  the  theory  of  the  art  was  very  little 
understood  by  those  who  thus  practised  it. 


4 


245 


2 pounds  of  black  nut  galls  pounded, 

4 pounds  of  sumach, 

f 4 pounds  of  cummin  seed, 

5 pounds  of  buck-thorn  berries, 

6 pounds  of  pomegranate  rinds  pounded, 

1 pound  of  bitter  apple, 

2 pounds  of  pounded  agaric, 

2 pounds  of  coquede  Levant,  (coculus  indicus) 
5 pounds  of  linseed. 

Then, 

8 ounces  of  pounded  litharge, 

8 ounces  of  pounded  antimony, 

8 ounces  of  pounded  plomb  de  mer, 

8 ounces  of  white  arsenic, 

8 ounces  of  crystal  mineral, 

8 ounces  of  rock  salt, 

8 ounces  of  fenugreek, 

8 ounces  of  corrosive  sublimate, 

8 pounds  of  copperas, 

20  pounds  of  gum  arabic. 

But,  however  complicated  and  unscientific  the  pro- 
cess recommended  even  by  so  good  a chemist  as 
Macquer  may  be,  there  are  remarks  and  variations  in 
it  well  worth  attention.  Thus  he  employs  a considera- 
ble quantity  of  vinegar,  which  I think  obstructs  the 
inconvenient  crystallization  of  the  alum,  and  with  the 
iron  filings  makes  an  acetat  of  iron.  He  directs  the  silk 
to  soak  in  the  gall  liquor  three  days.  He  uses  verdi- 
gris in  considerable  quantity.  He  galls  twice,  but  with 
an  extravagant  proportion  of  galls:  viz.  three  quarters 
of  a pound  to  the  pound  of  silk,  if  he  did  not  assure 


246 


us,  that  some  dyers  use  a pound  and  a half  of  galls  t© 
the  pound.  He  uses  a sufficient  quantity  of  logwood 
and  copperas  to  give  the  required  blue  black.  He  in- 
sists with  great  propriety  on  at  least  three  dippings  in 
the  black  dye,  and  scrupulously  airing  the  silk  after 
each  dipping. 

Nor  are  the  following  remarks  without  their  use. 

Silk  dyers  never  dye  black  but  by  coppers;  that 
is  when  they  have  a sufficient  quantity  of  silk  for  three 
dips  if  for  heavy  black,  but  if  light  black,  only  two' 
dips,  which  is  done  in  the  following  manner. 

If  heavy  black,  a third  of  the  silk  is  put  upon  rods, 
and  three  times  returned  into  the  black  ground;  it  is 
afterwards  wrung  on  the  peg  over  the  copper;  this  is 
done  by  giving  it  three  twists;  in  this  manner  three 
hanks  may  be  wrung  at  once;  because  it  should  be 
done  gently,  and  only  to  drain;  it  is  again  put  upon 
rods,  and  suspended  between  two  perches  to  air. 

While  the  first  silk  is  airing,  the  second  third  part 
is  dipped  in  the  same  manner,  and  afterwards  the 
third  portion,  always  in  the  same  manner.  It  must  be 
remembered  that  while  the  silk  is  on  the  rods,  it 
should  be  turned  from  time  to  time  to  give  it  air. 

When  the  last  third  part  is  wrung,  the  first  part  is 
put  in,  and  then  the  two  others  successively  for  three 
times,  always  airing  each  time.  This  is  commonly 
called  giving  the  three  wrings,  and  these  three  wrings 
are  called  one  fire  or  heating. 

The  light  blacks  should  also  have  three  wrings  to 
one  fire. 

The  black  ground  is  again  heated  after  each  fire. 


•nv 


r 


247 

giving  an  addition  of  copperas  and  gum.  This  opera- 
tion is  thrice  done  for  the  heavy  blacks,  that  is  three 
fires,  each  fire  consisting  of  three  wrings;  but  for 
light  blacks  only  twice,  each  also  consisting  of  three 
wrings. 

It  must  be  observed  that  at  every  reheating,  it  is 
requisite  to  change  the  order  of  dipping  in  such  a 
manner  that  each  may  in  its  turn  have  the  first  of  the 
liquor.  If  the  black  dye  is  strong  and  good,  the  heavy 
blacks  may  be  done  with  two  fires  only;  and  for  the 
light  blacks,  one  wringing  less  may  do  for  each 
heating. 

When  blacks  are  finished,  they  are  returned  in  a 
trough  of  cold  water  by  dips  one  after  another;  this 
is  the  rincing;  they  are  then  twice  or  thrice  beetled  at 
the  river.  When  washed,  put  them  on  the  cords,  only 
take -care  not  to  press  them  too  much. 

Of  Softening  Black.  Macquer.  The  silk,  when  taken 
out  of  the  black  dye,  is  extremely  harsh;  which  is  by 
no  means  wonderful,  considering  the  number  of  acids 
and  corrosives  in  its  composition.  It  is  therefore  ne- 
cessary to  soften  it  in  the  following  manner. 

Dissolve  about  five  pounds  of  soap,  in  two  buckets 
of  water,  and  while  the  soap  is  dissolving,  throw  in  a 
handful  of  aniseed  or  any  aromatic  plant.  (Not  I pre- 
sume for  the  same  purpose  as  the  soap.  T.  C.)  It 
should  boil  till  the  soap  is  entirely  dissolved.  In  mean 
time  a trough  should  be  provided  full  of  cold  water, 
and  large  enough  to  dip  all  the  silk  at  the  same  time. 
1 he  soap  water  should  be  strained  through  linen,  the 
.whole  mixed  well  together,  and  the  silk  put  in,  where 


248 


it  should  remain  a full  quarter  of  an  hour.  It  is  then 
taken  out,  wrung  on  the  peg,  and  dried  as  usual.  As 
the  quantity  of  soap  can  do  no  harm,  too  much  is 
better  than  too  little.  This  softening  is  very  necessary, 
in  order  to  divest  the  black  silk  of  that  stifthess  and 
rustling  which  is  so  prejudicial  in  the  manufacture  of 
black  goods.  (I  think  that  a moderate  washing  after- 
wards would  be  necessary;  for  the  soap  remaining  on 
the  silk,  would  certainly  render  it  liable  to  attract  dust, 
and  contribute  to  soil  it.  I do  not  see  why  the  prac- 
tice of  the  woollen  dyers  is  not  at  least  as  good;  viz. 
adding  a small  quantity  of  oil  to  soften  the  goods. 
Macquer  does  not  say  for  what  quantity  of  silk  five 
pounds  of  soap  should  be  used.  It  appears  to  me 
enough  for  fifty  pounds  of  silk.  T.  C.) 

Of  Nut  Grays,  Thorn  Grays,  Black  and  Iron 
Grays.  Macquer.  All  these  colours,  except  black  gray, 
are  produced  without  aluming.  The  silk  being  washed 
from  the  soap,  beetled,  and  drained  on  the  peg,  a 
liquor  is  made  of  fustic,  logwood,  archil  and  copperas. 
Fustic  gives  the  ground,  archil  the  red,  logwood 
darkens,  and  the  copperas  softens  all  these  colours, 
turns  them  gray,  and  at  the  same  time  serves  instead 
of  alum  to  extract  the  several  colours.  As  there  is  an 
infinite  variety  of  grays  without  any  positive  names 
and  produced  by  the  same  methods,  it  would  be  end- 
less to  enter  into  a detail  that  would  be  to  no  practical 
purpose. 

Suffice  it  to  remark,  that  in  producing  a reddish 
gray  the  archil  should  predominate:  for  those  more 
gray,  the  logwood;  and  for  those  still  more  rusty  and 
rather  greenish,  fustic. 


T 


249 

In  general,  when  obliged  to  complete  the  colour  with 
logwood,  it  should  be  used  rather  sparingly,  because 
it  is  apt  in  drying  to  darken  too  much,  differing  in 
this  particular  from  all  other  colours. 

(Grays  are  made  by  grounding  them  in  a very  weak 
or  dilute  black  dye.  The  different  shades  of  gray  caft 
be  given  by  additions  to  this  ground:  thus,  for  pearl 
gray,  a very  dilute  logwood  blue,  on  the  black  gray: 
for  dove,  a very  slight  tinge  of  red  on  the  black  gray, 
and  so  on.  On  these  shades,  no  dyer  can  be  much  at  a 
loss.  T.  C.) 

Of  Indigo  Blue  upon  Silk.  The  first  observation  to 
be  made  is,  that  the  raw  silk  ought  to  be  previously 
boiled  in  soap  and  water,  thirty  pounds  to  the  hun- 
dred weight;  and  that  by  scrupulous  washing  and 
beetling,  every  part  of  the  silk  should  be  perfectly 
freed  from  soap;  for  soap  spoils  the  indigo  vat,  and 
occasions  the  goods  to  be  spotted. 

The  vats  are  conical,  such  as  are  commonly  used 
for  the  blue  dye  of  woollen  by  our  back  country  dyers, 
and  mounted  in  the  same  manner.  There  should  be 
three  vats  of  different  degrees  of  strength,  and  size:  a 
vat  of  ten  buckets  to  be  charged  with  a pound  of  in- 
digo, one  of  twelve  buckets  to  be  charged  with  three 
pounds,  and  one  of  fifteen  buckets  to  be  charged  with 
six  pounds  of  indigo.  The  first  and  smallest  vat  should 
be  kept  weak;  it  can  be  strengthened,  when  necessary, 
by  means  of  the  third. 

The  vats  are  charged  exactly  as  for  woollen,  that  is, 
the  indigo  is  ground  and  sifted  carefully.  Then  from 
thr^e- fourths  of  a pound  to  a pound  and  a half  of  pot 

2 I 


250 


or  pearl  ash,  half  a pound  of  madder,  and  about  three 
quarters  of  a pound  of  bran,  are  used  to  one  pound  of 
indigo.  Generally  the  flour  is  washed  out  of  the  bran, 
as  the  dyers  think  it  is  too  glutinous  otherwise.  The 
indigo  vat  is  made  up  at  twice,  or  at  tw'o  brevets,  as 
the  French  term  it.  The  quantity  of  alkali  to  the  indigo 
varies  as  usual  in  diflferent  dye-houses.  Homassel  pre- 
scribes half  a pound,  Macquer  three  quarters  of  a 
pound,  Berthollet  a pound,  and  then  a brevet  or  re- 
freshing of  one  sixth  of  a pound.  My  own  opinion  is, 
that  although  to  ensure  the  perfect  solution  of  all  the 
indigo,  one  ]X)und  and  a quarter  of  potash  will  be 
necessary  to  one  pound  of  the  finest  indigo;  yet  for 
the  silk  vat,  a pound  is  the  better  proportion,  on  ac- 
count of  the  action  of  the  alkali  on  the  silk. 

The  management  of  the  vat  is  much  the  same  as  in 
the  case  of  the  woollen  indigo  vat. 

When  the  silk  is  entered  into  the  vat,  it  should  be 
done  by  a hank  at  a time,  of  not  more  at  the  utmost 
than  eight  or  ten  ounces  weight;  it  should  be  worked 
on  a peg  under  the  liquor,  and  after  being  turned  four 
or  five  times,  taken  out  to  air,  that  it  may  acquire  the 
indigo  blue:  this  will  not  take  more  than  half  a minute 
or  less;  it  should  then  be  dipped  again  and  worked  in 
the  liquor  until  it  has  acquired  the  colour  you  wish. 
When  you  work  your  first  hank  in  the  liquor,  mind 
how  many  turns  you  give  it  in  the  dye,  and  how  often 
you  take  it  out  to  air  it,  and  give  exactly  the  same 
work  to  each  succeeding  hank,  else  your  colour  will 
be  deeper  on  some  hanks  than  on  others  in  the  same 
parcel. 


251 


When  a bundle  of  silk  is  d}'ed  in  the  vat,  and  taken 
out,  wring  it  well  but  expeditiously  with  the  hand; 
and  do  not  permit  it  to  turn  blue  in  the  air,  but  carry 
it  to  the  water  without  delay  and  let  it  be  deprived  of 
its  green  colour  there.  For  this  purpose,  you  ought  to 
have  at  hand  two  tubs  of  water,  and  begin  to  wash  the 
silk  in  one,  and  finish  the  washing  in  another.  If  there 
should  be  a dry  wind  or  current  of  air,  your  silk  will 
not  be  dyed  evenl)'’,  if  you  do  not  wring  it  dry  quick- 
ly, or  carry  it  to  a room  warmed  by  a stove,  in  which 
there  is  mounted  a swing  ventilator,  which  must  be 
kept  in  motion  till  the  silk  has  acquired  its  blue,  other- 
wise it  will  spot. 

Indeed  all  silk  dyed  blue,  should  be  dried  in  ten 
minutes;  and  it  should  be  shaken  and  kept  in  constant 
motion  all  the  time  it  is  drying,  otherwise  it  will  turn 
blue  unevenly  and  in  streaks.  It  is  for  this  reason  that 
on  taking  it  out  of  the  vat,  it  is  necessary  to  plunge  it 
into  water  to  take  off  the  green  colour;  (the  air  in  the 
water  answering  this  purpose:  a little  sulphuric  acid 
would  ensure  and  expedite  this  use  of  the  water.  T. 
C.)  But  no  deep  blue  can  be  given  by  the  indigo  vat 
alone.  It  must  be  dyed  after  a strong  grounding  with 
archil.  But  before  you  dye  with  archil,  you  must  from 
time  to  time  try  the  strength  of  your  vat,  to  know  the 
depth  of  the  archil  colour  that  you  must  previously 
give.  And  when  you  have  dyed  the  ground  of  archil, 
you  must  wash  it  well  and  beetle  it  well,  before  you 
dye  the  blue.  All  these  directions  are  necessary,  as  well 
as  dexterity  in  handling  and  turning  the  silk,  other- 
wise there  is  great  hazard  of  its  being  spoiled. 


252 


To  dye  silk  in  the  blue  vat,  employs  four  work- 
men. One  dyes  and  washes  it;  another  wrings  it  care- 
fully and  equally;  a third  opens  it;  a fourth  moves  the 
swing  fan.  The  man  who  wrings  it  should  wring  k ten 
or  twelve  times  quickly. 

When  the  silk  is  opened,  the  strings  of  the  hanks 
should  be  cut  that  the  air  may  have  access  to  every 
part  of  it.  Every  part  of  the  operation  after  the  silk  is 
taken  out  of  the  vat  should  be  performed  rapidly,  and 
the  silk  dried  in  ten  minutes,  or  it  will  spot.  Fine  dry 
weather  should  be  chosen  for  this  operation:  if  any  wet 
falls  on  the  silk  it  will  spot  it  red. 

When  silk  is  to  be  dipped  of  various  shades,  the 
silk  meant  for  the  darkest  shade  should  be  dyed  in  the 
freshest  vat,  and  so  on,  continuing  to  dip  in  the  same 
manner;  only  as  the  vat  weakens,  the  silk  should  be 
left  in  a little  longer  each  time,  till  the  vat  is  so  much 
exhausted,  that  even  after  two  or  three  minutes  or  a 
little  more,  the  shade  appears  still  weaker.  The  vaf 
thus  exhausted,  serves  for  the  lighter  shades. 

After  dyeing  a quantity  of  silk,  the  vat  is  apt  to  tire, 
and  lose  its  green  colour;  in  which  case  it  is  necessary 
to  refresh  the  vat  widi  pearl  ash,  madder  and  bran,  in 
the  original  proportions,  about  a fourth  part  of  the 
first  dose.  This  brevet,  as  it  is  called,  should  be  boiled 
together  for  a few  minutes  before  it  is  put  in  the  vat, 
which  should  then  be  well  raked  up,  covered,  and 
suffered  to  rest  for  a few  hours  before  it  is  used  again. 

The  blues  are  divided  by  dyers  into  five,  light  blue, 
^ky  blue,  middle  blue,  king^s  blue,  Turkey  blue.  The 
two  last  require  a previous  ground  of  archil. 


r 


253 

Raw  silk  takes  a deeper  colour  than  boiled  silk: 
therefore  dye  this  last,  first. 

False  Blues  are  also  made  by  means  of  logwood 
I and  verdigris:  an  ounce  of  verdigris  to  the  pound  of 
silk,  is  dissolved  in  water,  in  which  the  silk  is  well 
soaked.  It  is  then  drained  and  dried,  and  dyed  in  cold 
logwood  liquor  strong  in  proportion  to  the  shade. 
Blue  vitriol  is  also  used  for  this  purpose:  it  makes  a 
colour  somewhat  different  from  verdigris.  Homassel 
directs  but  one  half  ounce  to  the  pound  of  silk,  with  a 
little  alum  if  you  want  a reddish  tint  on  the  blue.  Soak 
in  the  blue  vitriol  liquor,  and  dye  without  washing  in 
cold  logwood  liquor. 

Sometimes,  an  archil  liquor  is  superadded  to  the 
logwood  blue,  and  then  the  silk  is  dipped  in  an  indigo 
vat. 

Deep  blues  are  also  given  upon  a ground  of  brazil, 
for  which  you  previously  alum  the  silk  as  usual.  Then 
dip  it  in  the  blue  vat.  This  indeed  is  rather  a violet, 
than  a blue. 

Light  blues  may  also  be  dyed  in  an  indigo  vat,  but 
it  is  not  often  that  dyers  are  able  to  manage  a vat  so 
weak  as  is  necessary  for  this  purpose.  Hence  they  are 
usually  made  followers,  after  deep  blues  have  been 
dyed.  (I  see  no  reason  why  the  callicoe  printers’  vat 
should  not  answer;  or  still  better,  a diluted  pencil  blue. 
Gulich’s  recommendation  to  the  silk  dyer,  to  add  or-* 
piment  to  the  cold  vat  of  lime  and  copperas,  deserves 
to  be  tried.  T.  C.) 

Nothing  is  easier  than  to  make  a temporary  blue  vat 
in  the  first  vessel  that  is  at  hand,  by  means  of  liver  of 


sulphur;  this  substance  is  made  by  fusing  together  in  i 
a crucible  or  an  earthen  pot,  equal  parts  of  sulphur  : 
and  potash  previously  ground  together;  or  rather  pearl 
ash,  which  is  usually  drier.  Or  you  may  boil  together 
equal  parts  of  sulphur  and  potash  till  they  are  mutually  , 
dissolved.  Take  equal  parts  of  indigo  and  liver  of  sul-  i 
phur,  and  half  a part  of  potash,  and  dissolve  them  to- 
gether  in  a close  vessel  of  any  kind  by  a moderate  | 
heat.  This  can  be  diluted  vvidi  warm  water,  and  when  I 
cold,  used  for  dyeing.  Should  it  become  black  by  too  i 
much  heat,  or  any  other  cause,  add  a small  quantity  ' 
of  lime  and  red  orpiment.  When  you  use  this,  take  ^ 
care  to  scum  it,  otherwise  the  silk  will  be  spotted.  ; 
When  you  have  dyed  with  it,  put  it  by  well  covered.  I 
When  you  want  to  dye  again  with  it,  warm  it,  adding  i 
a little  lime  and  orpiment.  This  succedaneura,  how- 
ever, is  not  necessary  to  dyers  who  understand  how  to 
keep  the  common  indigo  vat  in  good  order,  though 
weak. 

Saxon  Blue,  is  dyed  on  silk  with  sulphat  of  indigo 
in  the  same  manner  as  on  woollen. 

Of  Yellow  on  silk.  The  raw  silk  should  be  boiled 
with  about  twenty-five  pounds  of  soap  to  the  hundred 
pounds.  Then  washed,  and  beetled,  and  alumed  in 
the  usual  way:  after  aluming  wash  it;  put  it  on  rods 
in  hanks  of  half  a pound  each.  Then  dye  with  two 
pounds  of  weld  to  the  pound  of  silk:  keep  the  weld 
down  by  heavy  pieces  of  wood.  Boil  it  till  all  the  co- 
lour is  extracted:  take  out  the  weld,  and  dye  the  silk 
when  the  liquor  is  about  120°  of  Fahrenheit.  Some 
dyers  use  a small  quantity  of  pearl  ash  with  the  weld, 


r 


255 

which  heightens  the  colour,  but  does  not  add  to  its 
permanency.  (Though  I am  of  opinion  it  aids  the 
aluming,  by  suddenly  fixing  it  before  any  of  the  alum 
is  dissolved  in  the  bath.  T.  C.)  Work  the  silk  in  the 
weld  liquor  till  you  have  obtained  your  colour.  Mac- 
quer  directs  two  baths  or  liquors  to  be  made  from 
the  weld,  and  the  silk  to  be  dyed  first  in  one  and  then 
in  the  other;  but  I do  not  see  the  advantage  of  it.  Ho- 
massel,  however,  gives  the  same  directions  under  the 
head  of  bottle  green,  which  see. 

I presume  that  although  quercitron  was  not  known 
in  Macquer’s  time,  it  may  be  made  to  supersede  weld 
in  most  cases,  using  half  a pound  to  the  pound  of  silk. 

If  you  want  a lemon  colour,  you  can  best  obtain  it 
by  weld,  using  a little  verdigris  and  less  alum. 

If  you  want  a jonquil,  you  must  give  a ground  of 
annatto. 

For  many  shades  of  yellow,  the  French  or  yellow 
berries  (graines  d’Avignon)  may  be  used;  and  in  point 
of  price  they  will  answer  for  the  cheaper  goods. 

The  brightness  of  the  colour  will  be  best  obtained 
by  using  white  silk,  but  in  general  the  natural  yellow 
of  the  silk,  that  is  not  quite  discharged  by  boiling  the 
raw  silk  in  soap  and  water,  does  no  injury  to  yellow 
colours. 

Auroras,  oranges,  mordores,  &c.  are  dyed  with 
annatto  or  rocou,  as  before  mentioned.  But  other 
shades  may  be  given,  by  the  mixture  of  red  and  yel- 
lows, whether  of  weld  or  quercitron. 

It  does  not  appear  that  tin  answers  as  a mordant  on 
silk  with  the  same  effect  as  it  does  on  woollen.  BiS’ 


256 


muth  has  not  been  tried  so  far  as  I know.  Nor  the 
acetat  of  iron  for  black  in  lieu  of  the  sulphat  of  iron. 
Though  in  Macquer’s  black  process,  there  is  some- 
thing like  it. 

In  this  country,  weld  can  hardly  be  used  till  we 
grow  it  ourselves.  Indeed  I do  not  see  why  a dyer, 
who  must  live  for  the  most  part  out  of  town,  cannot 
appropriate  one  field  to  madder,  another  to  weld,  and 
another  to  safflower,  for  his  own  consumption.  T.  C. 

Green.  Macquer.  This  colour,  composed  of  blue 
and  yellow,  is  with  difficulty  produced  on  silk,  be- 
cause the  blue  vat  is  liable  to  spot,  and  to  give  a party 
colour,  an  inconvenience  more  perceptible  in  green 
than  blue.  Greens  are  produced  in  the  iollowing 
manner. 

The  boiling  of  silk  for  this  colour,  is  the  same  as 
for  common  colours. 

There  are  several  shades  of  green  known  to  the 
dyers:  thus  a sea  green  or  Tourville  green,  has  twenty- 
five  or  thirty  gradations,  from  the  weakest,  called 
Pistachio  green,  to  the  darkest  called  Terasse  green. 

To  produce  these  greens  after  boiling,  the  silk  is 
strongly  alumed;  it  is  then  cooled  at  the  river,  and 
distributed  into  hanks  of  about  four  or  five  ounces. 
This  precaution  is  necessary  for  giving  the  yellow 
ground  to  all  silk  intended  for  green;  because  thus 
distributed  in  smaller  hanks,  the  silk  is  more  evenly 
dyed,  which  with  regard  to  green  is  of  the  greatest 
consequence.  The  weld  is  then  boiled  as  in  the  direc- 
tions concerning  yellow. 

The  weld  having  boiled,  a liquor  of  it  is  prepared 


257 


with  clean  water  strong  enough  to  give  a good  lemon 
ground.  The  silk  should  be  then  returned  in  this 
liquor  with  great  care,  because  an  uneven  ground 
would  be  very  discernible  in  the  green.  When  the 
ground  seems  nearly  full  enough,  some  threads  of  the 
silk  are  dipped  in  the  blue  vat  to  try  whether  the  co- 
lour of  the  ground  be  sufficiently  full  for  the  shade. 
If  not,  some  of  the  weld  decoction  is  added  and  again 
tried. 

When  the  colour  comes  out  good,  the  silk  is  cooled 
at  the  river,  and  once  beetled;  it  is  then  wrung  and 
formed  into  hanks  convenient  for  dipping  in  the  vat. 
Being  dipped  skein  by  skein  as  for  blues,  it  is  wrung 
with  equal  care  and  quickness  and  with  the  same  pre- 
cautions. 

The  fifteen  or  sixteen  lighter  shades  of  this  green, 
only  require  to  be  dipped  in  the  vat  to  be  completely 
finished.  As  to  the  Pistachio  green,  if  the  vat  be  yet 
too  strong,  the  silk  should  be  taken  out,  and  carefully 
opened  and  aired,  but  not  washed.  It  is  then  worked 
in  the  hands,  that  is,  held  in  one  hand  and  struck  with 
the  other,  by  which  means  the  silk  being  disentangled 
and  aired,  the  colour  becomes  equally  clear.  A few 
threads  are  then  rinced,  and  if  the  colour  be  right  the 
whole  is  washed. 

For  the  dark  shades,  when  the  weld  is  exhausted  a 
little  logwood  is  added  to  the  liquor;  and  for  the 
darkest,  some  decoction  of  fustic  also:  the  silk  is 
afterward  washed  and  beetled,  then  dipped  in  the  vat; 
always  remembering  that  the  perfection  of  the  colour 

2 K 


258 


greatly  depends  ofn  washing  and  drying  quickly,  when 
it  comes  out  of  the  vat. 

There  are  many  other  shades,  dilfering  from  the 
sea  green,  because  they  have  a yellow  cast:  they  are 
however  produced  by  the  same  ingredients:  for  exam- 
ple, the  willow  green.  These  greens  when  alumed  are 
dipped  in  a very  strong  weld  liquor,  and  when  ex- 
hausted, the  fustic  or  rocou  (annatto)  is  used,  added 
to  the  same  liquor  to  complete  the  shade.  If  the  co- 
lour requires  darkening,  a little  logwood  may  be  added 
after  the  fustic  or  annatto;  they  are  afterwards  dipped 
in  the  vat. 

The  second  shade  of  green  is  the  meadow  or  eme- 
rald green.  These  are  alumed  as  for  the  sea  greens; 
after  having  cooled  and  rinced  the  silk  at  the  river,  it 
is  dipped  and  worked  in  the  weld  liquor  that  had  been 
previously  used  for  a sea  green.  When  the  colour 
seems  even,  some  threads  are  put  into  the  vat  to  try 
the  effect  of  the  ground:  if  the  green  be  too  blue,  it  is 
again  put  into  the  decoction  of  the  weld,  or  a fresh  one. 
The  vat  is  then  stirred,  and  the  silk  again  entered,  till 
by  making  a fresh  essay'  you  find  the  ground  proper 
to  the  shade  required. 

The  only  difference  between  the  meadow  and  the 
emerald  greens  is,  that  the  first  is  rather  the  darkest. 

In  manufactories  where  savory  (this  is  a mistake; 
the  original  is  sarrette,  serratula  tinctoria,  in  English, 
saxv-ivort,  T.  C.)  is  easily  procured,  it  is  used  in  these 
kind  of  shades  in  preference  to  weld,  the  saw-wort 
yielding  more  juice  than  the  weld;  or  rather  because 
the  stuff  when  dry,  retains  the  same  colour  which  it 


•I 


I 


:l 

i 

1 

i 

i 


t 

■I 

1 

i 


259 


had  taken  from  the  liquor;  whilst  on  the  contrary,  the 
1 colour  of  the  weld  always  grows  yellower  and  redder 
» in  the  drying.  (This  is  in  some  degree  prevented  by 
mixing  a little  verdigris,  or  blue  vitriol,  with  the  alum. 

I T.  C.)  Genestrolle,  genista  tinctoria,  dyers’  broom,  is 
i sometimes  used  instead  of  weld,  only  in  larger  pro- 
^ portion. 

ri  All  the  other  shades  of  green,  are  varied  by  the 
■ addition  of  logwood  or  not,  according  to  the  tint.  The 
I dyers’  broom  is  either  used  alone,  or  mixed  with  weld, 
producing  the  same  colour.  The  saw-wort  is  prefera- 
ble to  either;  except  where  logwood,  fustic,  or  annatto, 
are  also  to  be  employed. 

Green.  Homassel.  All  greens  that  are  made  simply 
from  yellow  and  blue,  are  made  in  the  same  manner, 
using  the  materials  according  to  their  strength.  But 
for  landscape  greens,  a mixture  is  necessary  to  give 
them  something  of  a red  tint  in  addition.  This  is  done 
by  mixing  a small  quantity  of  brazil  with  the  weld 
liquor. 

In  all  natural  colours,  them  may  be  observed  a 
delicate  grayish  tint,  which  hitherto  has  never  been 
imitated  but  with  very  dilute  black  colour  or  logwood 
and  copperas. 

For  greens,  boil  the  weld;  and  let  it  cool,  that  the 
alum  on  the  silk  may  not  dissolve  in  the  hot  liquor. 
You  give  a yellow  ground,  deep  in  proportion  as  your 
pattern  requires.  To  hit  this  more  exactly,  you  try  a 
small  specimen  every  now  and  then  in  the  blue  vat; 
dry  it  quickly  by  squeezing  out  the  colour  by  means 
of  your  thumb  nail  and  finger.  When  you  have  hit 


I 


260 


the  required  shade,  wash  your  welded  silk  at  the  river, 
for  weld  like  soap  is  poison  to  the  indigo  vat.  Then 
dye  in  the  blue  vat  in  the  same  manner,  and  with  the 
same  precautions  as  you  do  for  blues  and  violets:  the 
least  variation  will  render  your  silk  streaked  or  spotted. 

Mixed  greens,  that  require  brazil,  or  Venice  su- 
mach (fusttt),  ought  to  receive  the  colour  of  these 
drugs,  either  on  the  weld  yellow,  or  previous  to  weld- 
ing. For  when  once  the  silk  has  entered  the  indigo 
vat,  it  is  un-alumed;  nor  can  it  then  take  any  other 
colour  but  black,  which  stripes  without  any  additional 
mordant;  or  else  by  means  of  logwood  and  copperas* 
These  two  colours  are  always  given  upon  the  blue, 
but  no  othf-r. 

Silk  may  be  alumed,  in  the  proportion  of  four 
ounces  of  alum  to  the  pound  of  silk.  The  alum  liquor 
should  never  be  hotter  than  120®  of  Fahrenheit  at  the 
utmost;  if  it  be,  your  silk  is  spoiled:  the  silk  may  be 
immersed  in  it  a quarter  of  an  hour.  (I  think  an  hour 
is  little  enough.  T.  C.) 

Of  Bottle  Green.  Hfomassel.  There  are  in  com- 
merce,  several  shades  of  this  colour,  all  managed  in 
the  same  way.  The  silk  must  be  well  alumed,  in  a 
strong  liquor.  Then  washed.  Then  dyed  in  a weld 
liquor;  after  the  weld  has  boiled  five  or  six  minutes, 
it  must  be  taken  out  in  baskets,  and  the  liquor  suffer- 
ed to  cool — from  110®  to  120®  of  Fahrenheit  at  the 
farthest. 

If  the  silk  be  common  stuff,  it  must  not  be  beetled 
after  aluming;  but  otherwise  if  it  be  fine.  It  should  be 
twice  welded  pretty  strongly,  and  will  then  be  of  a 


261 


I rich  golden  yellow.  Then  without  washing,  dye  it  in 
a decoction  of  logwood,  till  you  have  obtained  a brown 
• tint  as  deep  as  you  wish.  If  the  silk  be  not  sufficiently 
alumed,  the  logwood  liquor  will  sometimes  produce  a 
brownish  red  so  strong  that  the  weld  yellow  is  not 
: sufficiently  brought  out.  In  this  case,  some  alum  must 
I be  put  in  the  weld  decoction  to  make  the  logwood 
strike  properly,  and  then  pass  the  bottle  greens 
through  soap  and  water,  or  in  an  old  vat,  where  the 
alkaki  blues  the  logwood.  You  may  if  you  please, 

, omit  putting  alum  in  the  weld  decoction.  If  the  cloths 
are  deprived  of  their  alum  in  welding,  you  may  com- 
pel the  logwood  to  strike  by  means  of  verdigris  dis- 
solved in  hot  water. 

It  is  necessary  to  observe,  that  the  weld  should  boil 
twice:  first  for  five  or  six  minutes,  then  for  at  least 
half  an  hour.  If  you  wish  for  a strong  weld  decoction, 
after  the  last  half  hour’s  boiling,  take  out  the  weld, 
and  add  a fresh  bundle  to  the  same  decoction. 

American  Green.  This  colour  is  no  more  than  a 
weaker  shade  of  bottle  green.  It  requires  much  less 
weld,  and  logwood,  and  a very  small  quantity  of  green 
copperas. 

Olive.  Boil  the  silk  in  soap  and  water  as  usual,  to 
get  rid  of  its  gum.  Wash  and  beetle  it;  alum  it  strong- 
ly; then  dye  it  in  weld  liquor  very  strong,  in  the  same 
manner  as  for  yellows,  adding  to  this  liquor  when  ex- 
hausted some  logwood,  and  when  the  logwood  is 
exhausted  a small  quantity  of  the  solution  of  pearl 
ash,  which  greens  the  liquor  and  gives  it  an  olive  cast. 
The  silk  is  again  dipped  in  this  liquor,  and  then 
drained,  put  on  the  rods  and  dried. 


262 


There  are  two  shades  of  olive;  one  the  green  olive 
above  mentioned,  the  other  a reddish  and  rusty  olive. 
For  this  second  shade,  having  given  the  weld,  some 
fustic  and  logwood  may  be  added  without  pearl  ash. 
The  logwood  should  be  used  in  greatest  proportion 
for  the  deepest  shades. 

The  indigo  vat  would  make  the  colour  too  blue; 
the  blue  shade  is  deep  enough  by  means  of  the  elFect 
of  the  pearl  ash  on  the  logwood. 

Fustic  gives  a drab  colour,  when  previously  alumed, 
and  then  passed  through  logwood  and  copperas. 


ON  THE  DYEING  OF  COTTON. 


Cotton,  considered  with  respect  to  the  art  of  dye- 
ing, differs  from  woollen  in  the  following  particulars. 

First,  it  receives  the  colouring  matter  of  dyeing 
drugs,  and  retains  it  with  less  permanency  than  wool- 
len. Take  a piece  of  linsey-woolsey,  or  of  cotton 
woven  with  woollen,  and  boil  it  in  a decoction  of  weld 
or  quercitron,  or  madder,  the  woollen  will  receive  a 
dye,  while  the  cotton  and  linen  are  nearly  white. 

Secondly,  it  will  not  therefore  form  so  quick,  pro- 
bably not  so  strong  a chemical  combination  with  co- 
louring matter  as  woollen  will. 

Thirdly,  it  will  however  combine  (intermediately 
by  means  of  mordants)  with  a greater  quantity  of  co- 
louring matter  than  woollen  will,  to  produce  the  same 
shade  of  colour:  thus,  to  produce  the  fullest  tinge  of 
Turkey  red,  a pound  and  a half  of  madder  at  least,  is 
required  per  pound  of  cotton:  the  same  depth  of  co- 
lour can  be  given  on  woollen  with  the  proportion  of 
a pound  of  madder. 

Fourthly,  cotton  resists  the  operation  of  acids  and 
of  alkalies  more  than  woollen  does:  thus,  boil  a piece 
of  cotton  and  woollen  cloth  in  a strong  alkaline  ley;  in 


I 


264 

minutes  the  woollen  threads  will  be  dissolved,  the  i 
cotton  will  remain,  the  liquor  will  contain  a soap  of  . 
wool. 

Fifthly,  cotton  will  receive  a full  colour  from  any  i 
drug  that  requires  a mordant  or  preparation,  such  as 
madder,  weld,  quercitron,  fustic,  logwood,  galls,  su-  , 
mach,  walnut  or  alder  bark,  with  a preparation  of  alum  ,i 
in  the  proportion  of  one-fourth  of  the  weight  of  ' 
cotton. 

Sixthly,  whereas  woollen  requires  for  a full  and  a i 
fast  colour,  a mixture  of  tartar,  so  as  either  to  form  a 
tartrite  of  alumine,  or  else  to  render  the  alum  more  \ 
decomposable  by  means  of  the  double  affinity  of  the  1 
supertartrite  of  potash  (which,  I cannot  tell)  cotton  re-  i 
quires  no  tartar.  The  aluminous  mordant  is  just  as 
good  for  cotton,  alone,  as  with  tartar. 

Seventhly,  the  most  efficacious  mordant  for  cotton 
has  been  found  by  experience  to  be  the  acetat  of  alu- 
mine, which  should  be  made  in  the  proportion  of 
one  pound  and  a quarter  of  sugar  of  lead  to  one  pound 
of  common  alum  (free  from  iron.)  But  this  is  too  ex- 
pensive a mordant  for  the  dyer,  and  is  confined  to  the 
callicoe  printer;  it  has  not,  however,  been  as  yet  fully 
ascertained,  whether  aeetat  of  lime  in  about  double 
weight  to  the  alum,  would  not  produce  a mordant 
equally  good  and  cheap.  I have  seldom  been  able  to 
get  it  by  vinegar  and  whiting  free  from  iron.  The  pro- 
portion of  sugar  of  lead  to  alum,  I have  ascertained,  by 
direct  experiment,  to  be  nearly  one  part  and  a half  of 
sugar  oi'lead,  to  one  of  alum. 

Eighthly,  cotton  goods  may  be  made  to  approach  in 


265 


dyeing  properties  to  woollen,  by  impregnating  them 
with  animal  substances  and  astringents:  as  with  blood, 
urine,  cow  or  sheep’s  dung,  glue,  &c.  and  galls,  su- 
mach, or  bark. 

Ninthly,  cotton  goods  do  not  require  to  be  perfectly 
bleached  for  any  but  very  delicate  colours,  such  as 
scarlet,  crimson,  pink,  purple,  light  blue,  &c.  Com- 
mon colours  will  do  better  on  half  bleached  cotton, 
which  will  answer  even  for  that  finest  of  colours  the 
Adrianople  red. 

Tenthly,  the  looser  twisted  cotton  receives,  gene- 
rally, a fuller  and  finer  colour  from  the  same  ingre- 
dients, than  hard  twist. 

On  the  Bleaching  of  Cotton  Goods.  Wherein  first  of 
half  bleaching  them  for  common  colours:  next  of 
bleaching  them  white  for  the  more  delicate  tints. 

Cotton  goods  may  be  sufficiently  bleached  for  dye- 
ing common  colours  thus.  Gather  them  up  in  the 
usual  loose  knot:  throw  them  into  a keer  or  keeve 
(cuir  or  cuve)  sunk  in  the  ground  and  rising  about 
six  inches  or  a foot  above  ground,  in  common  water. 
The  water  should  cover  them;  for  this  purpose  they 
should  be  pressed  down  with  a board  and  weights  on 
it.  The  paste  and  sowings  used  in  weaving,  will  begin 
to  ferment  in  a couple  of  days  in  winter,  and  sooner  in 
summer.  Six  hours  after  the  bubbles  of  fermentation 
begin  to  appear,  take  them  out,  carry  them  to  the 
dash  wheel,  dash  them  well,  run  them  through  the 
squeezers,  gather  them  up  in  the  usual  loose  knot, 
without  laying  them  down  on  the  green  to  bleach,  and 
put  them  into  the  booking  keer. 

2 L 


266 


I'o  about  one  thousand  pounds  weight  of  cotton 
goods,  use  thirty  pounds  of  potash,  and  five  pounds  of 
soap.  The  keer  should  hold  two  thousand  weight  of  1 
goods  in  the  gray,  and  then  sixty  pounds  of  potash  ' 
and  ten  pounds  of  soap  will  be  wanted.  Let  this  ley 
be  cohobated  in  the  usual  way  on  the  cloth,  well 
covered  with  a layer  of  twisted  pieces,  and  also  a 
coarse  and  open  cloth  over  all.  The  pump  is  used  to 
pump  up  the  ley  upon  the  top  of  the  cloth,  through 
which  it  pucolates  and  runs  out  at  the  bottom  spigot 
into  the  boiler,  whence  it  is  again  pumped  up;  and  so 
on  for  twelve  hours.  The  cloth,  moist  with  the  hot 
ley,  remains  in  the  keer  all  night.  In  the  morning 
carry  it  to  the  dash  wheel,  and  dash  it  well.  The  dash 
wheel  should  be  six  feet  and  a half  diameter,  two  feet 
and  a half  wide,  and  make  two  revolutions  per  minute. 

See  the  plate  in  Brewster’s  Encyclopaedia.  Then* 
throw  it  into  a souring  keer,  sunk  in  the  ground  to* 
within  a foot,  holding  vitriolic  (sulphuric)  acid  andj^ 
water  in  the  proportion  of  one  part  oil  of  vitriol  ofj^ 
spec,  gravity  1,85  to  about  fifty  parts  water:  or,  lettheJM 
mixture  be  of  the  strength  of  common  vinegar.  In  thisgr 
country  it  will  require  not  more  than  forty  parts  water  \ 
to  one  of  oil  of  viiriol,  such  as  is  usually  sold.  In  this  | 
acid  liquor,  let  the  goods  stay  from  eighteen  to  twenty-  I 
four  hours.  Then  carry  them  to  the  dash  wheel;  dash 
them  well,  and  without  squeezing,  lay  them  down  on  I 
the  grass  for  three  days  on  each  side.  Then  take  them 
up,  again  dash  them  well,  squeeze  them,  and  then  dry, 
and  make  them  up.  If  a further  degree  of  whiteness 
is  wanted,  bouk  them  again  the  usual  time  with  thirty 


267 


pounds  of  pearl  ash  per  thousand  pounds  of  cloth, 
with  the  addition  also  of  about  five  pounds  of  soap. 
Dash,  squeeze,  sour,  dash,  bleach  on  the  grass  for  two 
days,  dash  again  and  make  them  up. 

This  will  produce  a degree  of  cleanness,  and  white- 
ness, fully  sufficient  for  all  common  purposes. 

If  the  goods  are  required  to  be  bleached  white,  pro- 
ceed thus. 

First,  steep  in  common  water  for  two  or  three  days; 
dash,  and  squeeze.  Take  care  not  to  let  them  ferment 
too  long,  or  they  will  rot. 

Secondly,  Bouk  early  in  the  morning  with  forty 
pounds  of  potash  and  five  pounds  of  soap  per  thousand 
pounds  weight  of  cloth:  dash  them  well  in  the 
morning. 

Note.  Callicoes  of  twenty-eight  yards  and  a half,  of 
quality  sufficient  for  good  common  work,  ought  to 
weigh  in  the  gray,  unbleached,  seven  pounds  and  a 
quarter  each,  and  when  bleached  six  pounds  and  a 
half  each.  About  two  hundred  and  thirty  callicoes  are 
usually  bouked  at  once  with  seventy  pounds  of  pot- 
ash. 

Gray  muslinets  of  forty-two  or  forty-three  yards, 
will  weigh  unbleached  about  eleven  pounds. 

Half  yard  velverets,  gray,  undressed,  about  six- 
teen pounds. 

Do.  dressed  and  half  bleached,  about  eleven 
pounds. 

Muslin  cords,  gray,  unbleached  about  twenty- 
three  pounds,  bleached  seventeen  pounds. 

Of  course  these  goods  vary  in  weight  with  the  cir- 
cumstances of  the  trade. 


I 


268  I 

Thirdly,  lay  the  goods  down  on  the  grass  fluring  i 
three  days,  turning  them  each  day;  then  dash  and  - 
squeeze. 

Fourthly,  bouk  with  thirty-five  pounds  of  pearl  ash 
and  five  pounds  of  soap;  dash  and  squeeze.  (The  first 
bouking  should  be  of  potash,  the  succeeding  ones  of  I 
pearl  ash.)  I 

Fifthly,  lay  down  on  the  grass  for  three  days,  turn-  j 
ing  them  each  day.  Dash  and  squeeze.  j 

Sixthly,  sour  in  sulphuric  acid  and  water  of  the  I 
strength  of  vinegar  for  two  days:  dash  and  squeeze.  j 
ft  Seventhly,  bouk  Avith  twenty-five  pounds  of  pearl  | 
ash,  and  five  pounds  of  white  soap  per  thousand  I 
weight  of  cloth:  dash  and  squeeze.  This  will  make  of  \ 
soap  and  alkali  together,  half  a pound  to  each  piece 
of  callicoe.  .j; 

Eighthly,  lay  the  goods  on  the  grass  for  three  days 
as  before.  Then  without  washing  or  squeezing  them, 
when  they  are  dry, 

Ninthly,  bleach  in  oxymuriatic  acid,  oxymuriat  of 
lime,  or  oxymuriat  of  potash. 

Tenthly,  dash,  and  lay  them  down  on  the  grass  for  f 
a day. 

The  above  process  is  the  same  nearly  with  one 
which  I formerly  communicated  to  Dr.  Mease,  who 
published  it  under  the  article  “ Bleaching”  in  his 
edition  of  the  Domestic  Encyclopaedia. 

As  to  the  method  of  making  the  oxymuriatic  acid, 
and  the  oxymuriat  of  potash  and  of  lime,  I refer  the 
reader  to  the  article  Bleaching  in  the  Domestic  En- 
cyclopaedia; to  two  papers  on  the  oxymuriats  in  my 


269 


I edition  of  the  Emporium,  and  to  the  articles  Bleaching, 

( in  Rees,  and  in  Brewster’s  Encyclopaedia.  The  method 
, of  bleaching  with  oxymuriatic  acid  made  from  red 
I lead,  beyond  all  doubt  the  most  expeditious,  the  most 
I convenient  and  the  cheapest,  is  my  own,  exclusively, 
f It  is  not  known  in  England,  unless  by  two  or  three 
' gentlemen  formerly  concerned  with  me. 

The  above  is  the  method  of  bleaching  calculated 
for  the  climate  of  England.  I am  persuaded,  that  the 
efficacy  of  the  sun  in  this  country,  may  supersede  the 
necessity  of  oxymuriatic  acid,  or  any  of  its  combina- 
tions. ‘ 

Goods  that  require  to  be  fired,  will  take  a little 
longer  time,  and  perhaps  a slight  bonking  and  sour- 
ing in  addition.  But  under  the  preceding  process,  the 
goods  can  be  got  out  in  a fortnight  from  the  gray, 
which  is  early  enough  for  the  usual  routine  of  work. 
I think  too  that  the  warm  sun  of  this  country,  and 
wetting  the  goods  on  the  green,  may  supersede  a 
booking  and  souring  now  and  then. 

As  to  the  proposed  methods  of  bleaching  by  steam, 
by  sulphuret  of  potash,  and  by  oxymuriat  of  magnesia, 
. I have  no  faith  in  their  pre-eminence  over  the  well- 
tried  common  method  above  detailed.  As  to  the  oxy- 
muriat of  magnesia,  whatever  advantage  it  may  pos- 
sess is  fully  counteracted  by  the  extravagance  of  its 
price  here.  As  to  the  danger  of  the  oxymuriatic  acid 
uncombined  rotting  the  cloth,  I can  only  say  that 
having  directed  the  bleaching  of  very  many  thousand 
pieces,  I have  no  reason  to  make  the  complaint.  But 
in  truth,  the  excessive  whiteness,  required  by  the 
English  dealers  in  cotton  goods,  is  not  desirable. 


270 


It  is  purchased  very  much  at  the  expense  of  the 
cloth,  and  in  this  country  we  may  well  dispense  with 
it.  Indeed,  unless  for  cotton  twist,  I would  discard  the 
oxymuriats  altogether. 

I am  perfectly  satisfied  that  the  alkali  would  be 
greatly  improved,  and  might  be  diminished  one-fourth, 
by  using  lime  to  draw  a caustic  ley,  but  I am  afraid 
of  its  abuse. 

Of  the  Blue  Dye  on  Cotton.  I have  nothing  to  say 
as  to  the  preparation  of  the  vats  for  dyeing  blue  on 
cotton,  having  exhausted  that  subject,  in  the  section 
relating  to  the  dyeing  of  woollen  a blue  colour,  in  the 
various  vats  there  described,  and  meaning  to  say  what 
I wish  in  addition,  under  the  head  Dipping  and  Paste 
Work,  by  and  by,  which  the  reader  ought  not  to  pass 
over. 

In  general,  the  blue  upon  cotton  is  dyed  in  the  cold 
vats,  where  the  indigo  being  disoxygenated  or  de- 
oxyded  by  means  of  green  copperas,  (sulphat  of  iron) 
or  yellow  orpiment,  is  dissolved  by  means  of  potash  or 
lime,  generally  by  lime  alone.  I do  not  see  much  ob- 
jection to  dyeing  a blue  upon  cotton  by  means  of  the 
common  indigo  vat,  of  bran,  madder,  and  potash,  but 
common  usage  and  experience  rather  sanctions  the 
cold  vat.  Gulich’s  practice  of  using  orpiment  with  the 
copperas  in  the  cold  vat,  deserves  to  be  verified. 

In  dyeing  cotton,  the  light  shades  are  usually  dyed 
first:  very  full  blues  are  seldom  wanted  unless  for 
Guineas,  which  require  to  be  so  deep  that  the  coppery 
hue  is  perceptible  on  casting  your  eye  along  the  piece. 

No  mordant  is  necessary  for  an  indigo  blue;  nor 


271 


unless  the  shade  required  be  very  light,  need  the 
i goods  be  bleached  quite  white.  But  they  must  be 
^ very  clean  from  dirt  and  sowings. 

I A false,  fugitive  and  fraudulent  blue  on  cotton,  even 
I as  deep  as  a Guinea  blue,  can  be  dyed  with  logwood 
hand  blue  copperas. 

Of  Dyeing  Cotton  a Black  Colour.  The  first  thing 
necessary  is  to  prepare  the  iron  liquor,  which  may  be 
made,  either  with  vinegar  from  cyder,  or  brewed  pur- 
posely from  grain,  or  made  with  pyroligneous  acid. 
In  England  it  has  long  been  a separate  trade. 

In  a large  cask  of  size  or  in  number  proportionate 
to  the  work  in  the  establishment,  put  a quantity  of  old 
refuse  iron  of  any  kind;  pour  on  it  vinegar  made  from 
cyder,  or  brewed  from  any  kind  of  grain;  let  it  stand 
till  the  acid  becomes  saturated  with  the  iron,  which 
usually  requires  three  months  to  be  good.  The  older 
it  is,  the  better.  The  stronger  the  vinegar,  the  better. 

If  pyroligneous  acid  be  used,  it  must  be  used 
merely  to  supply  the  place  of  vinegar. 

Pyroligneous  acid,  now  in  common  use  in  Man- 
chester, and  other  parts  of  England  where  cotton 
manufactures  are  established,  is  usually  the  refuse  of 
the  making  of  charcoal. 

Formerly  in  the  gunpowder  manufactures,  the  char- 
coal used,  was  made  in  the  common  way  of  open 
fires:  of  late  years  it  has  been  made  in  close  vessels, 
wherein  it  is  made  more  perfectly,  and  all  the  pro- 
ducts of  the  distillation  are  saved. 

The  products  of  the  distillation  of  wood,  are  a gas, 
or  air,  called  by  the  chemists  carburetted  hydrogen, 


272 


which  is  permitted  to  escape:  together  with  this  gas, 
an  empyreumatic  fetid  oil  comes  over,  which  collects 
at  the  top;  and  also  an  acid  liquor,  which  is  the  pyro- 
ligneous acid. 

The  wood  is  cut  up  in  small  billets,  put  into  a 
cylinder  of  iron,  open  at  one  end,  to  which  end  a cover 
is  fitted,  and  where  the  wood  is  put  in;  after  which 
the  cover  is  put  on.  At  the  other  end  a large  tube  is 
adapted,  and  the  fire  is  made  under  the  cylinder.  Thf 
wood  thus  exposed  to  heat,  is  distilled.  The  end  of 
the  tube  goes  into  a hogshead  containing  some  water, 
and  is  permitted  to  enter  the  water  about  six  inches; 
the  gas  that  comes  over  is  permitted  to  escape  through 
a tube  inserted  in  the  top  of  the  hogshead.  The  oil 
separates  and  swims  on  the  top  of  the  water,  the  acid 
liquor  mixes  with  the  water,  which  by  repeated  dis- 
tillations becomes  strongly  impregnated  with  the  acid 
of  the  wood.  The  charcoal,  especially  if  near  a gun- 
powder manufactory,  will  pay  all  the  expense  of  this 
process.  This  acid  liquor  is  an  empyreumatic  vinegar, 
which  perfectly  answers  to  dissolve  the  iron,  and  is 
used  for  that  purpose.  The  smell  attending  this  acid 
is  of  no  consequence,  and  the  solution  of  iron  is 
equally  valuable  and  efficacious  as  if  common  vinegar 
had  been  used. 

No  good  and  permanent  black  can  be  dyed  on  cot- 
ton, unless  by  means  of  the  acetat  or  pyrolignat  of 
iron*.  The  sulphat  of  iron,  or  green  copperas,  is 

* An  acetat  of  iron  for  sudden  experiments  can  be  well  made 
thus:  dissolve  in  as  small  a quantity  of  hot  water  as  possible  one 


F 


273 

detrimental  when  used  alone,  to  the  texture  of  the 
cloth,  and  never  gives  a full  and  lively  black  with  the 
: common  astringents. 

I To  dye  a good  and  permanent  black  upon  cotton,  I 
‘ should  recommend  the  following  process,  after  the 
|[  cloth  or  yarn  has  received  a light  indigo  blue, 
r Make  an  astringent  bath  by  boiling  for  an  hour  and 
a half,  two  ounces  of  galls,  four  ounces  of  sumach  and 
1 as  much  alder  bark  to  the  pound  of  cotton;  strain  the 
liquor  clear:  in  this  liquor  work  your  goods  for  an 
hour  or  more  at  about  a scalding  heat;  take  out  the 
cotton,  and  if  yarn  put  it  into  a tub  with  as  much  of 
the  liquor  as  will  cover  it  and  let  it  remain  for  some 
hours.  Then  drain  and  wring  it,  but  do  not  dry  it. 
Work  it  in  iron  liquor  five  or  six  quarts  to  the  pound 
according  to  the  strength  of  it,  at  the  heat  of  120°,  for 
an  hour;  drain  it,  open,  air  it,  and  when  w'ell  aired, 
rince  it  in  water. 

Refresh  your  astringent  bath,  pouring  into  it  the 
liquor  from  the  tub,  with  one  ounce  of  madder  and  as 
much  quercitron  to  the  pound  of  cotton;  bring  it  to 
the  heat  of  about  160°  or  even  180®.  Work  the  cotton 
in  this  bath  for  an  hour;  drain,  and  wring  it. 

Refresh  your  iron  liquor  with  an  ounce  of  green 
copperas  and  half  an  ounce  of  blue  copperas  to  the 
pound;  work  the  goods  in  it  as  before;  wring  them, 
open,  air,  and  rince  them. 

part  of  green  copperas:  dissolve  in  as  small  a quantity  of  hot 
water  as  possible  one  part  and  a quarter  of  sugar  of  lead:  stir 
them  about  and  filtre  the  solution.  For  printing,  thicken  it  with 
bruised  gum  arabic. 


2M 


274 


Refresh  your  astringent  bath,  with  a decoction  of 
four  ounces  of  logwood  to  the  pound  of  cotton.  Dye 
the  goods  in  this  bath,  till  the  colour  is  exhausted; 
wring  them,  open,  air,  and  wash  them  well. 

Dip  them  again  in  the  same  bath  (the  last  mention- 
ed) with  two  ounces  Gallipoli  oil  to  the  pound  of  cot- 
ton. Wash  and  dry. 

Airing  the  goods  after  each  dyeing,  is  indispensable 
to  a fine  colour:  I add  madder,  quercitron  and  log- 
wood to  the  astringents,  because  I do  not  believe  a 
perfect  black  can  be  procured  by  any  one  colouring 
drug  alone.  The  oil  improves  the  cotton  both  to  the 
sight  and  the  touch. 

This  process  will  dye  a good  black,  and  I should 
prefer  it,  but  so  will  any  of  those  that  I am  about  to 
mention,  which  I insert  that  the  artist  may  exercise  his 
own  judgment  in  choosing. 

For  common  blacks  upon  cotton,  Mr.  Wilson  of 
Manchester,  the  best  cotton  dyer  of  his  day,  (and  who 
first  introduced  the  Adrianople  or  Turkey  red,  long 
before  the  chamber  of  manufactures  of  that  town  pur- 
chased the  secret  from  M.  Borell,  a dyer  from  Rouen) 
dyed  his  blacks  on  cotton  in  the  following  manner. 

The  cotton  goods  were  perfectly  freed  from  dirt 
and  sowens,  by  a half  bleach,  which  is  essential.  The 
goods  were  then  passed  through  a bath  of  galls  and 
sumach  for  an  hour  at  a boiling  heat:  they  were  then 
drained  and  cooled.  Then  passed  through  a prepara- 
tion or  mordant  bath  of  acetat  of  iron,  (the  common 
iron  liquor,  made  at  that  time  with  brewed  vinegar 
and  iron,  and  used  at  six  months  old.  Each  dyer 
knew  by  experience  and  repeated  trials,  the  strength 


375 


of  his  own  iron  liquor;  it  was  not  then  (1788)  a se- 
parate trade  to  make  iron  liquor,  as  it  is  now.)  The 
goods  were  then  drained  and  aired:  after  that  they 
were  again  passed  through  the  astringent  bath  re- 
freshed with  alder  bark:  again  through  the  iron  liquor; 
and  lastly  through  a bath  at  a boiling  heat,  of  logwood 
with  a small  quantity  of  verdigris.  After  each  dyeing- 
operation,  however,  the  goods  were  drained,  opened, 
aired,  and  dried  in  the  shade;  for  each  dyeing  process 
is  incomplete  until  the  air  strikes  as  full  a black  as  the 
materials  are  capable  of  giving.  In  this  process,  the 
blue  tinge  is  given  to  the  black  by  the  logwood  and 
verdigris.  It  will  do  very  well  for  common  blacks,  but 
the  former  process  is  better  for  high  priced  goods. 

The  Rouen  process  from  Pileur  D’Apligny,  is 
worth  inserting. 

In  the  states  of  Genoa,  Florence  and  Naples,  every 
manufacturing  city  has  a place  of  reserve  called  the 
seraglio,  where  at  the  public  expense,  eight  or  ten 
vats  are  constantly  supported.  These  vats  (containing 
iron  dissolved  in  vinegar)  have  been  set  from  three  to 
four  hundred  years  more  or  less;  that  is,  prepared  for 
the  dipping  of  silk  designed  for  black,  and  only  re- 
quiring to  be  supplied  with  proper  materials  in  pro- 
portion as  they  are  diminished  by  use.  The  ground 
remaining  always  the  same,  acts  as  a kind  of  leaven, 
by  which  the  fermentation  of  the  necessary  additional 
drugs  is  assisted. 

The  process  at  Rouen  for  dyeing  linen  and  cotton 
thread  black,  is  first  to  give  it  a sky  blue  ground,  and 
then  to  wring  and  dry.  It  is  afterwards  galled,  a quar- 


276 


ter  of  a pound  of  galls  for  every  pound  of  the  sub- 
stance, as  for  reds:  having  remained  four  and  twenty 
hours  in  the  gall  liquor,  it  is  then  wrung  and  dried. 

About  five  quarts  of  the  black  liquor  (strong  iron 
liquor,  T.  C.)  is  then  poured  into  a trough;  in  this 
liquor  the  cotton  is  dipped  and  worked  with  the  hand 
pound  by  pound,  for  about  a quarter  of  an  hour,  and 
then  wrung  and  aired.  This  operation  is  twice  repeat- 
ed, adding  each  time  a fresh  quantity  of  the  black 
liquor  carefully  skimmed;  it  is  again  aired,  wrung, 
washed  at  the  river,  well  drained  and  dried. 

When  this  cotton  is  to  be  dyed,  about  one  pound 
of  the  bark  or  rind  of  the  alder  tree  for  every  pound 
of  thread,  is  put  into  a copper  and  boiled  in  a sufficient 
quantity  of  water  during  one  hour;  about  half  the 
liquor  that  had  been  used  for  the  galling  is  then  add- 
ed, with  about  half  the  weight  of  alder  bark  or  of  su- 
mach. The  whole  is  again  boiled  for  two  hours,  after 
which  it  is  strained  through  a sieve.  When  it  is  cold, 
the  cotton  is  dipped  in  it  on  the  rods  and  worked 
pound  by  pound;  from  time  to  time  airing,  and  re- 
turning it  into  the  liquor,  where  having  remained 
twenty  four  hours,  it  is  wrung  and  dried. 

For  softening  this  cotton  when  too  harsh,  it  is  the 
custom  to  soak  it  in  the  remainder  of  the  weld  liquor, 
that  had  been  used  for  other  colours,  adding  a little  of 
the  logwood  liquor.  It  is  then  taken  out  and  instantly 
plunged  into  a trough  of  warm  water,  into  which  had 
been  poured,  an  ounce  of  olive  oil  for  every  pound  of 
the  substance. 

I shall  now  (says  D’Apligny)  describe  a process  by 


277 


which  I myself  have  succeeded  perfectly.  It  is  neces= 
sary  to  begin  by  cleansing  the  thread,  then  by  galling 
in  the  same  manner  as  for  reds,  aluming  afterwards, 
and  then  dipping  in  a weld  liquor.  When  taken  out  of 
this  liquor,  it  must  be  dyed  in  a decoction  of  logwood 
to  which  has  been  added  a quarter  of  a pound  (a  very 
large  quantity,  T.  C.)  of  blue  vitriol  for  every  pound 
of  the  substance.  It  is  then  taken  out,  washed  at  the 
river,  wrung,  and  washed  several  times,  but  not  wrung 
hard.  It  is  at  last  dyed  in  a madder  liquor,  about  half 
a pound  of  madder  to  the  pound  of  materials  to  be 
dyed.  By  this  process  we  may  rest  assured  of  obtain- 
ing a very  beautiful  and  permanent  black,  that  will 
not  be  liable  to  be  discharged,  provided  that  after 
having  been  dyed,  the  thread  be  dipped  in  a boiling 
soap  liquor. 

(The  first  of  these  processes  is  a good  one;  but  the 
reader  may  rest  assured  that  a colour  depending  chiefly 
on  logwood  and  blue  vitriol,  can  never  be  a very  per- 
manent one.  These  substances  will  answer  to  brighten 
the  black,  but  there  must  be  previously  a tolerable 
black  without  them.  T.  C.) 

In  dyeing  common  blacks,  they  may  be  frugally 
passed  through  old  baths  of  drab  and  olive  colours,  so 
as  to  work  up  the  remains  of  half  spent  liquors,  that 
nothing  may  be  lost. 

Upon  the  black  dye  on  cotton,  I would  remark, 

First,  that  no  good  black  can  be  dyed,  with  green 
copperas  or  sulphat  of  iron  alone. 

Secondly,  that  the  proper  mordant,  is  clear  iron 
liquor,  or  iron  dissolved  to  saturation  in  a vegetable 


278 


acid;  but  toward  the  last  part  of  the  process,  a small 
quantity  of  green  copperas  with  a much  smaller  of 
verdigris,  or  blue  vitriol,  may  be  added  with  advan- 
tage. 

Thirdly,  I believe  a perfect  black  cannot  be  dyed 
with  any  single  astringent.  For  a perfect  colour,  mad- 
der and  logwood,  and  I am  inclined  to  think  a small 
quantity  of  quercitron  also,  are  necessary,  which  I have 
accordingly  added. 

Fourthly,  in  the  last  dye-bath,  if  the  goods  are  con- 
tinned  too  long  in  the  liquor,  it  is  apt  to  dissolve  some 
of  the  black. 

Fifthly,  To  give  the  blue  shade  so  necessary  to  a 
full  and  brilliant  black,  logwood  and  verdigris,  or  log- 
wood and  blue  copperas  (sulphat  of  copper)  are  both 
necessary. 

Sixthly,  it  is  indispensalde  to  air  the  goods  after 
dyeing  them  out  of  an  astringent  liquor.  The  oxy- 
gen of  the  atmosphere  alone,  strikes  the  black,  and 
fixes  it. 

Seventhly,  The  addition  of  a small  quantity  of 
grease  or  oil,  is  a modern  improvement  that  answers 
upon  cotton  as  well  as  upon  woollen. 

For  blacks,  it  is  said  that  linseed  oil  may  be  used, 
but  for  no  other  colour. 

Eighthly,  I am  persuaded,  that  the  modern  theories 
about  animalizing  cotton  are  well  founded,  and  will 
answer  for  blacks,  as  well  as  for  other  colours.  Hence 

Ninthly,  I think  it  would  be  worth  while  to  try  the 
following  variation  in  the  process  for  dyeing  black. 
Commence  with  a strong  iron  liquor  containing  two 


279 


ounces  of  alum  to  the  pound  of  cotton.  Make  a bath 
of  120°  hot,  of  a pint  of  sheep’s  dung,  half  an  ounce 
of  pearl  ash,  and  a couple  of  ounces  of  oil  to  the  pound; 
work  the  cotton  in  this  for  an  hour  and  a half.  Wring 
and  rince.  Then  through  an  astringent  bath  of  two 
ounces  galls,  two  ounces  of  madder,  two  ounces  of 
quercitron,  and  four  ounces  sumach  to  the  pound, 
strained.  This  may  boil,  for  the  fawn  colour  will  not 
hurt  a black  though  it  will  make  a red  dull.  Then 
(after  wringing,  airing,  and  rincing  moderately) 
through  the  iron  liquor;  then  again  the  dung  liquor 
and  the  astringent  liquor  as  before,  only  refreshing 
this  last  with  four  ounces  logwood,  and  one  verdigris, 
repeating  if  necessary  the  iron  liquor. 

It  is  of  great  importance  to  give  a good  and  per- 
manent black  to  cotton  goods  so  much  in  demand,  as 
all  the  class  of  velverets,  velveteens,  janes,  &c.;  and 
although  a tolerable  good  black  can  be  cheaply  dyed 
in  the  common  w'ay,  I think  they  would  pay  for  more 
care  and  attention  than  is  usually  bestowed  upon  them. 

The  processes  for  grays,  muds,  dove  colours,  drabs, 
olives,  chocolates,  clarets,  &c.*  depending  as  in  the 
case  of  woollen,  upon  diluted  black,  with  or  without 
the  admixture  of  other  colours,  such  as  yellow,  green, 
red,  &c.  can  be  sufficiently  well  understood  by  those 
who  have  attended  to  the  preceding  pages:  but  I shall 
presently  give  a separate  though  brief  section  on  these, 
founded  on  the  actual  practice  of  Manchester. 

Of  dyeing  Cotton  a Scarlet  colour.  This  is  very  sel- 
dom dyed.  Dr.  Berkenhout’s  flimsy  process,  contain- 
ing nothing  new,  may  be  found  in  1 Bancroft,  p.  398. 
If  this  colour  be  wanted,  let  it  be  dyed  thus. 


280 


Boil  the  bleached  cotton  in  a preparation  of  two 
ounces  of  alum  per  pound  of  cotton,  for  an  hour  and 
a half.  Then  take  it  out,  drain  it,  and  without  rincing, 
run  it  through  water  heated  to  110'’  Fahrenheit,  in 
which  fresh  blood  has  been  mixed  in  the  proportion 
of  half  a pint  of  blood  to  a pound  of  cotton.  Do  this 
for  an  hour:  take  out  the  cloth,  drain  and  rince  it. 

Dye  it  with  an  ounce  of  quercitron  to  the  pound  of 
cloth:  drain  it,  wash  it  well,  and  dry  it. 

Run  it  for  an  hour  and  a half  through  a boiling  pre- 
paration, consisting  of  a sufficient  quantity  of  water, 
mixed  with  the  common  composition  for  the  scarlet 
dye:  drain  it,  rince  it  slightly.  Then  dye  it  in  the 
common  finishing  or  cochineal  scarlet  bath,  and  wash 
it  well.  If  too  red,  it  can  be  flamed  by  running  it 
through  a very  dilute  preparation  liquor.  If  too  yellow, 
run  it  through  hot  water  with  about  an  ounce  of  the 
whitest  soap  dissolved  in  it,  to  twenty  pounds  of 
cloth:  or  the  quantity  of  cochineal  may  be  increased. 

The  blood  certainly  makes  the  colour  more  perma- 
nent, but  the  colour  of  cochineal  is  fugitive  upon 
cotton  at  the  best.  • 

I have  never  tried  a second  blood  liquor  after  the 
tin  preparation,  but  I am  of  opinion  it  would  be  of 
use.  Galls  also  would  render  the  colour  more  perma- 
nent, but  they  would  sadden  it  a little.  Dr.  Baneroft’s 
remarks  should  be  perused. 

Brazil  Reds  on  Cotton.  False  searlets  and  crimsons 
on  cotton  are  usually  dyed  with  brazil.  The  difference 
between  a scarlet  and  a crimson,  can  be  made  by  a 
previous  yellow  dye  of  a very  light  shade,  which  gives 
the  flame  colour. 


281 


For  a Crimson  with  Brazil.  Prepare  with  an  ounce 
of  alum  to  the  pound  of  cloth:  run  it  through  a blood 
liquor  made  as  above:  rince  it.  Run  it  during  an  hour 
and  a half  through  a bath  of  nearly  boiling  water,  or 
rather  water  at  180'’  of  Fahrenheit,  impregnated  with 
with  a decoction  of  an  ounce  of  bruised  galls  to  the 
pound  of  cloth:  wash  it.  Run  it  the  usual  time  through 
a dye  liquor  of  brazil  wood,  taken  out  of  a decoction 
made  apart,  with  half  a pound  of  brazil  wood  to  the 
pound  of  cloth;  use  one  third  of  this  decoction  each 
time.  Rince  it.  Run  it  through  the  common  scarlet 
preparation  liquor  of  tin  in  aqua  regia;  let  it  drain, 
rince  it;  then  add  of  the  brazil  decoction  one  other 
third,  previously  taking  out  of  the  old  dye-bath  as 
much  in  quantity.  Drain,  rince.  Again  run  it  through 
the  preparation  tin  liquor  the  usual  time;  drain,  rince: 
then  take  out  of  the  dye-bath  as  much  of  the  old  liquor 
as  will  admit  of  the  remaining  third  of  the  brazil  decoc- 
tion, in  which  let  the  cloth  boil,  wincing  it  as  usual, 
for  the  usual  length  of  time.  Drain,  wash.  A small 
quantity  of  cochineal  decoction  in  the  last  liquor  would 
improve  it. 

Dyeing  of  Pink  on  Cotton.  For  the  purpose  of  dye- 
ing this  colour  on  cotton  cloth,  (which  is  frequently 
required  mixed  with  black  for  the  Spanish  market,) 
I refer  to  the  method  already  given  for  dyeing  wool- 
lens with  carthamus  or  safflower.  The  black  is  usually 
dyed  first  with  paste  work,  or  else  printed  as  a blotch 
ground  with  chemical  black,  and  then  dyed  with  the 
alkaline  solution  of  safflower,  and  then  in  a solution 
of  white  tartar:  or  these  two  solutions  may  be  mixed. 

2 N 


282 


Where  lime  or  lemon  juice  can  be  cheaply  obtained, 
they  are  preferable  to  tartar.  The  mineral  acids  do  not 
produce  a bright  colour. 

This  colour  will  not  stand  washing  with  soap,  nor 
long  exposure  to  air. 

Of  Madder  Red  upon  Cotton;  and  first  of  the  com- 
mon madder  red. 

Rouen  Process:  from  Pileur  D'Apligny.  The  cotton 
being  cleansed,  or  half  bleached,  the  next  operation 
is  galling,  then  aluming,  then  dyeing,  then  enlivening. 

Galling.  Use  one  quarter  of  a pound  of  bruised 
white  galls,  boiled  till  they  are  quite  soft,  in  six  quarts 
of  water  to  each  pound  of  cotton.  It  will  take  about 
two  hours  to  boil  the  galls.  Strain  the  liquor  or  draw 
it  off  clear,  which  will  now  be  about  five  quarts;  divide 
the  cotton  into  hanks  of  about  half  a pound  each,  tied 
separately,  and  having  laded  into  a separate  vessel  five 
quarts  of  the  gall  liquor,  soak  thoroughly  two  hanks 
of  the  cotton  in  it.  Then  take  them  out,  lay  them  in 
another  tub,  and  pour  the  gall  liquor  upon  them:  do 
the  same  to  two  more  hanks,  till  the  whole  are  tho- 
roughly soaked,  taking  care  each  time  to  stir  the  gall 
liquor,  that  the  whole  may  be  soaked  equally.  Let 
them  remain  in  this  gall  liquor  twenty-four  hours; 
take  them  out  hank  by  hank,  wring  them  moderately, 
and  let  them  dry. 

Aluming.  Bruise  and  dissolve  in  hot  water  a quarter 
of  a pound  of  alum  for  each  pound  of  cloth.  The  so- 
lution must  amount  to  five  quarts  for  a pound  of  cot- 
ton. It  is  customary  to  add  to  this  solution  arsenic, 
white  tartar,  and  kelp,  dissolved  in  water,  (which  as 
they  are  worse  than  unnecessary,  I omit.  T.  C.) 


28S 


Proceed  with  this  alum  solution  exactly  as  you  did 
with  the  galling,  soaking  the  cotton  in  the  same  way, 
for  the  same  time,  then  wring  and  dry  it  slowly,- to 
give  time  for  the  alum  to  combine  with  the  cloth. 

Dyeing.  This  should  not  be  done  with  more  than  ten 
pounds  at  a time,  if  you  would  be  sure  of  dyeing 
them  equally.  They  should  be  dyed  in  a copper  of  an 
oblong  square  shape,  two  feet  deep.  For  ten  pounds 
weight  of  cotton  it  should  hold  sixty  gallons.  Heat  the 
water  to  a scald,  and  then  put  in  six  pounds  and  a 
quarter  of  good  madder;  when  the  madder  is  equally 
diffused  through  the  water,  enter  the  cotton  by  means 
of  sticks  or  rods  passed  through  the  strings,  and  work 
them  regularly  in  the  liquor,  turning  them  upside 
down  successively  in  rotation  for  three  quarters  of  an 
hour  at  a regular  heat,  but  without  boiling.  Then  raise 
the  cotton,  and  let  it  rest  on  the  side  of  the  copper,  till 
you  put  in  about  a quart  of  a solution  of  kelp  or  ba- 
rilla; stir  the  liquor,  enter  the  cotton  again,  keep  it 
immersed,  and  boil  it  for  a quarter  of  an  hour.  Then 
raise  it,  wring  it,  wash  it,  and  wring  it  again. 

Two  days  afterwards,  refresh  the  madder  bath  with 
five  pounds  of  madder,  making  in  all  eleven  pounds 
and  a quarter  to  ten  pounds  of  yarn.  Work  the  cotton 
in  this  a second  time,  just  as  at  first,  but  without  any 
alkaline  lixivium. 

To  brighten  or  enliven  the  colour.  Boil  the  dyed  cot- 
ton in  water  with  a small  quantity  of  solution  of  kelp 
or  barilla.  Then  wash  it,  wring  it,  and  spread  it  on 
the  grass,  where  the  colour  is  still  further  improved. 

Editor'’s  Process:  for  a full  rich  colour.  Prepare  the 


284 


cotton  in  a clear  mordant  liquor  of  four  ounces  of  alum 
and  two  ounces  of  sugar  of  lead,  to  the  pound  of  cot- 
ton, bruising  the  alum  and  dissolving  it  in  no  more 
water  than  is  needful  conveniently  to  work  the  goods. 
They  should  soak  (after  being  well  worked)  immersed 
in  this  hot  solution  for  six  hours.  Take  them  out, 
wring  them  over  the  vessel,  so  that  no  moisture  will 
drop  from  them:  let  them  thus  rest  in  a damp  place 
for  twelve  hours,  for  the  remaining  moisture  to  equa- 
lize itself. 

Prepare  a bath  of  half  an  ounce  pearl  ash,  two 
ounces  galls,  six  ounces  sumach,  and  four  ounces 
madder,  to  the  pound  of  cotton;  keep  it  at  a full  scald 
for  two  hours,  or  till  the  galls  are  quite  soft:  separate 
the  galls,  madder  and  sumach  by  a sieve.  Enter  the 
cotton,  and  keep  it  worked  regularly  in  this  liquor  at 
a full  scald,  for  at  least  an  hour  and  a half.  Then  drain, 
wring  it,  rince  it,  and  wring  it  again. 

Prepare  a dye  liquor  of  sixteen  ounces  of  madder, 
and  half  a pint  of  blood,  to  the  pound  of  cotton.  Enter 
the  cotton  at  150'’,  and  keep  it  at  that  heat,  or  not 
beyond  160’  of  Fahrenheit,  well  worked  in  the  liquor 
for  a full  hour  or  more,  if  need  be.  The  white  scum 
or  froth  will  show  when  the  bath  is  exhausted.  Drain, 
wring,  rince,  wring  the  cotton,  and  dry  it. 

Run  the  cotton  again  through  the  alum  bath,  only 
refreshing  this  last,  with  one  ounce  of  alum  to  the 
pound  of  cotton;  and  then  through  the  astringent  bath: 
and  dye  it  again  with  four  ounces  of  madder  and  half 
an  ounce  of  brazil  to  the  pound  of  cotton,  and  a little 
more  blood,  a gill  to  the  pound. 


285 


If  the  cotton  be  in  hanks  or  skeins,  it  is  probable 
that  it  will  have  to  go  through  processes  that  will  an- 
swer for  enlivening  it:  but  if  you  wish  it  enlivened, 
boil  it  for  twenty  minutes,  or  half  an  hour,  in  a solu- 
tion of  white  soap,  an  ounce  to  the  pound  of  cotton. 
Then  wash  and  dry  it  in  the  shade,  or  in  a stove  not 
heated  beyond  100°  at  the  utmost. 

The  brazil  colour  is  fastened  by  the  blood  and 
galls. 

For  cheap  goods  and  common  colours,"make  them 
the  followers  of  fine  goods,  so  as  to  use  up  the  mate- 
rials not  quite  spent,  and  employ  upon  them  a quan- 
tity of  ingredients  lessened  in  proportion  to  the  expense 
you  choose  to  lay  on  them.  But  as  sheep’s  dung  and 
blood  certainly  contribute  to  the  fixity  of  the  madder 
red,  if  not  of  almost  every  other  colour  upon  cotton, 
I would  employ  the  one  or  the  other. 

Generally,  the  blood  and  the  dung  are  neglected,  or 
rather  they  are  not  in  use,  but  I am  well  satisfied  that 
the  colour  is  more  full  and  more  permanent  when  they 
are  used;  and  as  the  articles  are  cheap,  there  is  no  suf- 
ficient reason  for  omitting  them.  It  is  impossible  to 
reflect  on  the  usual  practice  of  the  callicoe  printers, 
and  on  the  theory  of  animalizing  cotton,  w hich  the  Tur- 
key-red must  suggest,  without  being  convinced  that 
these  substances  are  of  great  use.  Blood,  cow  dung, 
sheep’s  dung,  a solution  of  common  glue,  may  be 
used  for  one  and  the  same  purpose;  I prefer  them  in 
the  order  here  stated. 

The  common  prejudices  are  in  favour  of  the  Zea- 
land grapp,  or  crop  madder,  which  is  certainly  a good 


286 


article,  when  well  grown  and  well  cured,  well  ground, 
and  well  preserved,  tightly  packed  in  close  casks. 
Moisture  spoils  it.  But,  I have  used  enough  of  the 
Smyrna  madder  roots,  to  know  that  a better  colour 
can  be  obtained  from  them,  than  from  the  common 
crop  madder.  This  last  will  not  produce  a genuine 
Turkey  red.  The  roots  are  indispensable.  I know  too, 
that  madder,  which  while  I am  writing,  sells  here  at 
Carlisle  at  a dollar  a pound,  can  be  grown  at  Carlisle 
as  well  as  in  Holland.  It  requires,  to  be  sure,  more 
hands  to  bring  it  into  market  than  a common  crop, 
but  a farmer  would  not  be  ill  paid  for  his  ground  and 
labour  at  ten  cents  a pound. 

I now  proceed  to  the  colour  which,  of  all  others,  is 
the  most  complicated,  and  the  fastest  of  beautiful  co- 
lours, the  Turkey  red.  Mr.  Wilson,  of  Manchester, 
whom  I well  knew,  in  the  year  1782  or  1783,  was  at 
the  expense  of  sending  a man  to  the  Levant,  to  learn 
how  to  dye  this  colour,  and  he  brought  home,  if  not 
the  process,  the  principles.  Mr.  Wilson  dyed  a mad- 
der red,  and  indeed  every  other  colour,  in  a manner 
hardly,  if  at  all,  exceeded  by  any  knowledge  of  the 
present  day.  Indeed  he  went  to  the  expense  of  the 
printer’s  mordant  for  his  common  madder  reds.  In  the 
year  1765,  the  French  government  published  an  im- 
perfect account,  which  may  be  seen  in  D’Apligny, 
but  the  dyers  of  Rouen,  from  1780  to  1790,  dyed  it 
so  well,  that  they  obtained  almost  a monopoly  of  the 
market. 

About  the  year  1785  or  1786,  a M.  Borell,  who  had 
worked  at  Rouen,  sold  the  process  to  the  chamber  of 


287 


manufactures  at  Manchester,  where  it  has  since  been 
dyed  as  well  as  a ly  where  else.  The  process  of  Borell 
has  been  published  by  Mr.  Henry  of  Manchester.  In 
1790,  a M.  Papillon  sold  to  the  dyers  at  Glasgow  ano- 
ther Turkey-red  process;  Bancroft  has  given  it  (vol. 
2,  p.  186)  with  remarks;  but  as  I prefer  Borell’s  upon 
the  whole,  and  have  my  own  remarks  to  make  on  it, 
I shall  give  it  here;  the  more  especially  as  Turkey  or 
Adrianople  red  is  the  only  process  of  the  cotton  dyer 
which  throws  light  on  the  theory  of  cotton  dyeing, 
and  points  out  the  real  path  that  leads  to  future  im- 
provement. 

The  process  I am  about  to  give  differs  from  Dr. 
Bancroft’s,  which  is  Papillon’s,  and  which  I disapprove 
of  in  many  respects:  I extract  the  following  from  Mr. 
Henry’s  paper,  who  copied  it  from  a process  purchas- 
ed of  M.  Borell,  who  dyed  the  colour  very  well;  and 
who  went  through  the  process  in  the  dye  house  of 
John  Philips  and  Company.  3 Manchester  Transac- 
tions, p.  380  et  seq. 

“ It  is  proper  to  premise  that  all  the  wooden  vessels 
employed  should  be  made  of  deal,  or  some  white  wood 
free  from  astringent  matter;  (that  the  cotton  should 
not  be  more  than  half  bleached,  or  rather  perfectly 
cleansed  from  dirt  and  so  wens.  T.  C.)  and  that  the 
most  convenient  quantity  to  operate  on,  in  proportion 
to  the  ingredients  used  in  the  several  operations,  is 
sixty-six  pounds  of  cotton. 

“ From  sixty  pounds  of  Alicant  barilla,  a lixivium 
or  ley  is  drawn  by  means  of  soft  water,  amounting  to 
sixty  gallons;  and  then  by  the  pouring  on  of  fresh 


i288 


water,  a second  ley  is  formed,  measuring  forty  gal- 
lons; after  this  a third  ley  is  also  extracted  from  the 
same  barilla,  the  quantity  of  which  should  be  about 
fifty-two  gallons. 

“ A liquor  is  also  prepared  consisting  of  four  gallons 
of  sheep’s  dung,  collected  after  it  has  been  excreted 
from  the  animal,  and  before  it  has  been  exposed  to 
rain,  dissolved  in  twenty  gallons  of  water,  and  strained 
through  a hair  sieve  to  separate  it  from  the  grosser 
parts. 

“ These  preparatory  measures  being  taken,  the 
Jirst  operation  consists  in  adding  nine  pounds  of  Galli- 
poli oil  to  eight  gallons  of  the  second  barilla  liquor; 
this  forms  a kind  of  soap,  to  which  are  to  be  added, 
twenty-four  gallons  of  the  first  barilla  liquor,  twelve 
gallons  of  the  dung  liquor,  and  forty- eight  gallons  of 
soft  water.  Into  this  liquor,  when  nearly  of  a sealding 
heat,  the  cotton  is  to  be  put,  room  being  made  for  it 
by  taking  out  about  twenty  gallons  of  the  liquor, 
which  is  to  be  gradually  returned  into  the  pan  in  pro- 
portion to  the  waste  by  evaporation,  and  the  whole  is 
to  be  kept  boiling  during  five  fiours,  after  which  the 
cotton  is  taken  out  of  the  pan,  suspended  over  it  to 
drain,  and  then  well  wrung,  washed  in  clear  water, 
and  hung  on  smooth  poles  to  dry,  either  in  the  open 
air  or  in  the  stove  room;  but  the  former  is  to  be  pre- 
fered  if  the  weather  be  fair. 

“ The  liquor  wrung  out  of  the  cotton,  is  to  be  pre- 
served, together  with  the  remainder  in  the  pan,  for  a 
future  operation;  and  at  this  time  sixteen  gallons  of 
soft  water  are  to  be  added  to  the  dung  liquor. 


289 


“ The  second  operation  consists  in  pouring  three 
: pounds  and  a half  of  Gallipoli  oil  into  a bucket  con- 
taining four  gallons  of  the  second  barilla  liquor,  and 
f adding  this  mixture  to  six  gallons  of  the  first  barilla 
r liquor,  and  four  gallons  of  the  dung  liquor:  of  this 
i composition  two  or  three  gallons  are  to  be  put  into  a 
tub,  and  in  it  about  a pound  and  a quarter  of  the  cot- 
•j  ton  is  to  be  well  soaked,  and  afterwards  wrung,  but 

(not  too  closely,  over  a tub  kept  for  that  purpose.  A 
similar  portion  of  cotton  is  then  to  be  treated  in  the 
I same  way,  and  so  on  till  the  whole  has  passed  through 
I the  mixture,  adding  about  a pint  or  three  half  pints  of 
[ liquor,  on  the  immersion  of  every  fresh  parcel  of  cot- 
ton. The  cotton  is  then  to  be  thoroughly  dried,  which 
also  it  must  be  after  the  subsequent  operations;  and 
these  are  to  be  conducted  in  the  same  manner  with 
respect  to  the  manipulations,  (workings  or  handlings 
of  the  goods,)  as  in  the  present  one. 

“ In  the  third  operation,  the  liquor  which  had  been 
wrung  out  of  the  cotton,  is  to  be  poured  back  into  the 
tub  in  which  the  soaking  has  been  performed:  and  to 
this  are  to  be  added  of  Gallipoli  oil  three  pounds  and 
a half,  and  of  the  second  barilla,  dung,  and  first  barilla 
liquors,  four  gallons  each.  After  this  operation  the 
dung  liquor  is  to  be  strengthened  by  the  addition  of 
. about  two  handfuls  of  sheep’s  dung  diluted  with  a 
' little  water. 

“ The  fourth  operation  is  similar  to  the  third:  the 
liquor  which  remains  is  to  be  set  aside  for  the  pur- 
pose of  mixing  with  the  residuary  liquor  after  the 

2 O 


290 


eighth  operation,  to  be  used  for  other  cotton  in  any 
subsequent  process. 

“ The  dung  liquor  is  omitted  in  the  fifth  operation, 
and  the  mixture  employed  in  the  three  following  ope- 
rations is  called  the  white  liquor,  to  distinguish  it 
from  that  used  in  the  four  preceding  parts  of  the  pro- 
cess, which  from  the  colour  imparted  by  the  dung  is 
named  the  green  liquor.  v 

“ The  same  quantity  of  oil  as  before  is  to  be  mixed 
in  a bucket  with  four  gallons  of  the  second  barilla 
liquor,  and  poured  into  a tub,  where  are  to  be  added 
to  it  three  gallons  more  of  the  same  liquor,  and  four 
gallons  of  the  first  barilla  ley.  About  four  gallons  of 
this  liquor  remain  after  the  wringing,  and  these  are  to 
be  added  in  the 

“ Sixth  operation,  to  the  same  quantity  of  oil,  first 
mixed  with  four  gallons  of  the  second  ley,  and  then 
with  two  gallons  (more  or  less  in  proportion  to  the 
quantity  of  white  liquor  remaining  after  the  preceding 
operation)  of  the  same  ley,  and  four  gallons  of  the 
first. 

“ In  the  seventh  operation  the  quantities  of  all  the 
ingredients  are  the  same  as  in  the  sixth.  The  residuum 
of  the  white  liquor,  after  the  three  last  operations,  will 
be  about  eight  gallons,  and  is  to  be  preserved  to  be 
used  in  the  fourteenth  operation. 

“ The  eighth  operation  consists  in  heating  the  third 
I barilla  liquor,  amounting  to  fifty  gallons,  to  about  the 
warmth  of  new  milk,  removing  it  when  thus  warmed 
from  the  copper  to  a tub;  immersing  the  whole  of  the 
cotton  therein,  and  suffering  it  to  remain  for  twelve 


291 


! hours  or  longer.  It  is  then  to  be  taken  out  and  laid  on 
j a cloth  spread  on  four  or  five  sticks  placed  across  a 
large  tub,  into  which  the  liquor  drains  as  it  runs  from 
the  cotton.  The  cotton  is  then  to  be  well  wrung,  and 
afterwards  thoroughly  washed,  that  no  loose  oil  may 
I remain,  which  would  be  injurious  to  the  next  ope- 
t ration. 

“ The  wringing  tub  and  peg  are  now  to  be  well 
washed,  and  a fresh  set  of  poles  used:  for  if  any  oil 
were  to  come  into  contact  with  the  cotton  in  the  next 
parts  of  the  process,  it  would  receive  a blackish  tinge 

I in  the  dyeing. 

“ The  galling  forms  the  ninth  operation.  Sixteen 
! pounds  of  galls,  or  if  blue  galls  be  used,  a somewhat 
smaller  proportion,  are  put  into  twenty-four  gallons  of 
water  nearly  boiling.  The  liquor  is  then  brought  to 
boil  and  the  ebullition  continued  for  fifteen  minutes; 
but  as  soon  as  the  boiling  commences,  the  fire  should 
be  withdrawn,  as  the  heat  already  received  will  keep 
it  up  for  a sufficient  time,  and  the  galls  will  not  settle 
if  the  boiling  be  too  violent.  The  liquor  is  to  be  car- 
ried to  the  wringing  tub  in  the  quantity  of  three  or 
four  gallons  at  a time,  according  as  it  is  soaked  up  by 
the  cotton,  till  one  half  of  it  has  been  thus  employed; 
and  the  cotton  is  to  be  worked  in  it  as  hot  as  possible, 
by  means  of  a stick  passed  through  the  skeins:  after 
this  it  is  to  be  dried  either  wholly  or  in  part  in  the 
open  air;  if  it  cannot  be  thus  completed,  (for  rain 
would  in  this  state,'  and  especially  as  the  cotton  ap- 
proaches to  dryness,  be  highly  prejudicial,)  the  drying 
must  be  finished  in  a stove  room.  The  liquor  which 


292 


has  been  wrung  out  is  to  be  added  to  the  remaining  j 
half  in  the  copper.  ! Ci 

“ For  the  tenfA  operation,  this  remaining  decoction  j si 

of  galls  is  to  be  heated;  the  thick  sediment  at  the  bot-  ] ai 

tom  being  previously  separated  by  a hair  sieve,  and  . ; \ 

the  cotton  again  treated  as  in  the  ninth  operation.  t 

“ The  eleventh  operation  is  the  aluming  of  the  cot-  n 

ton.  Thirty  pounds  of  Roman  alum,  finely  powdered,  n 

is  put  into  sixteen  gdlons  of  water,  gradually  heated  a 

and  continually  stirred.  When  it  becomes  so  hot  that  ^ 

the  operator  cannot  easily  bear  his  hand  in  it,  the  fire 
is  to  be  removed.  Six  gallons  of  the  first  barilla  j 

liquor,  are  then  to  be  added  by  degrees,  and  the  i 

whole  agitated  till  the  solution  is  complete.  The  cot-  ^ f 

ton  is  to  be  placed  in  the  wringing  tub,  about  three  I 

gallons  poured  on  it,  and  in  proportion  as  the  solution  | i 

is  soaked  up,  more  is  to  be  added  till  about  one  half  \ 

of  it  is  employed.  The  cotton  having  been  thoroughly 
worked  in  the  alum  liquor,  is  to  be  well  wrung  and  li 

dried,  and  the  portion  which  is  wrung  out,  is  to  be  u 

returned  to  the  remainder  in  the  pan,  and  used  in  1 

the  twelfth  operation,  which  is  performed  exactly  I 

in  the  same  manner  with  the  eleventh.  After  this,  the  1 

dried  cotton  is  to  be  well  washed  by  handfuls  in  run-  \ 


ning  water,  the  workman  holding  in  each  hand  about  Ji 
twenty  ounces  of  cotton  for  two  minutes.  Each  por-  o 
tion  is  then  wrung  and  separated,  washed  and  wrung  i 
again,  and  laid  upon  a coarse  cloth.  The  whole  is  then  aj 

carried  up  from  the  river,  wrung  a third  time,  and  < 

hung  to  dry.  The  cotton  will  now  be  ready  for  the 
thirteenth  operation,  in  which  the  colouring  substance 
is  applied  to  the  cotton. 


293 


“ The  cotton  is  first  divided  into  four  equal  parts, 
each  of  which  is  to  be  dyed  separately:  and  these  are 
subdivided  into  skeins  or  parcels  of  about  a pound 
and  a quarter  each.  The  copper  pan  is  then  to  be  filled 
with  water  within  about  six  inches  of  the  top;  and 
twenty-six  pounds  of  Smyrna,  or  rather  of  Cyprus 
madder,  added  to  it.  So  soon  as  the  water  becomes 
milk  warm,  fourteen  pounds  of  sheep’s  blood  as  fresh 
as  it  can  be  procured  are  to  be  stirred  into  it;  when 
the  liquor  is  so  warm  that  the  workman  can  just  bear 
his  hand  in  it,  one-fourth  part  of  the  cotton  is  to  be 
put  into  it,  suspended  on  sticks,  by  means  of  which 
it  is  moved  backwards  and  forwards  in  the  pan  every 
five  minutes,  and  the  skeins  are  to  be  inverted  every 
ten  minutes,  so  that  they  may  receive  the  dye  equally 
in  every  part.  This  business  is  continued  for  about 
fifty  minutes.  The  cotton  is  then  hung  on  five  sticks 
only,  and  so  suspended  by  strings  as  to  be  wholly 
immersed  in  the  liquor,  which  is  now  to  be  made  to 
boil,  and  continued  boiling  for  forty-five  or  fifty  mi- 
nutes. A white  froth  about  this  time  appears  on  the 
surface,  and  is  a sign  that  the  madder  is  exhausted  of 
its  colouring  matter,  and  the  cotton  can  receive  no 
benefit,  though  it  will  get  no  injury  through  continuing 
longer  in  the  liquor.  It  is  then  to  be  withdrawn,  car- 
ried to  be  well  washed  in  the  river  or  wash  wheel,  and 
then  wrung  and  dried. 

“ The  other  three-fourths  of  the  cotton  are  then  to 
be  successive  dyed  in  the  same  manner,  fresh  ingre- 
dients being  used  for  each  parcel. 

“ The  fourteenth  operation  is  represented  as  highly 


294 


essential  to  the  success  of  the  process:  should  it  be 
omitted,  the  colour  it  is  said  would  not  only  be  so  un- 
fixed as  to  lose  much  in  the  subsequent  operation,  but 
would  likewise  require  more  time  for  the  enlivening 
(avivage.)  About  eight  gallons  of  the  white  liquor, 
which  remained  after  the  seventh  operation,  and  were 
directed  to  be  reserved,  are  now  to  be  mixed  with 
four  gallons  of  the  first  barilla  ley.  T wo  gallons  of  this 
mixture  being  put  into  the  wringing  tub,  the  whole  of 
the  cotton  is  to  be  washed  in  it,  adding  more  liquor  in 
proportion  as  it  is  soaked  up  by  the  cotton,  which  is 
afterwards  to  be  wrung,  washed  and  dried.  (This 
amounts  to  soaking  the  dyed  cotton  in  a solution  of 
imperfect  soap,  made  with  carbonated  soda  and  oil. 
T.  C.) 

“To  this  succeeds  fifteenth  and  last  operation, 
namely,  that  of  enlivening  or  reviving  the  colour.  The 
copper  pan  being  about  half  filled  with  water,  twenty, 
eight  or  thirty  gallons  of  the  liquor  remaining  after 
the  first  operation,  are  to  be  added,  so  that  the  liquor 
may  reach  to  within  six  inches  of  the  top.  When  the 
liquor  is  nearly  boiling,  the  cotton  is  to  be  put  in, 
being  previously  formed  into  parcels  of  about  two 
pounds  and  a half  each;  nearly  four  ounces  being  kept 
separate  for  a purpose  to  be  hereafter  described. 

“ The  cotton  is  be  well  pressed  down  in  the  pan,  and 
confined  by  sticks.  The  pan  is  covered'with  a wooden 
lid,  having  a small  hole,  through  which  the  small  por- 
tion of  cotton  reserved  for  that  purpose,  may  be  occa- 
sionally withdrawn,  in  order  to  observe  the  progress 
of  the  operation.  This  hole  has  a moveable  cover. 


I 


295 


■ The  lid  is  then  to  be  secured  by  a strong  cross  of 
I wood  with  a straight  piece  over  it,  and  the  sides  made 
I close,  so  as  to  confine  the  vapour,  by  laying  round  the 
I edges  of  the  lid,  a quantity  of  damp  linen  cloth.  The 
I fire  is  then  to  be  raised,  so  as  to  make  the  liquor  boil; 

1 and  the  boiling  to  be  continued  for  nine  hours. 

I “ The  process  is  finished  by  taking  the  cotton  out 
I of  the  liquor,  wringing,  washing  and  drying  it.  But 
the  drying  is  never  to^  be  performed  cither  in  a stove 
room  or  in  strong  sunshine.  The  colour  will  be  most 
brilliant  if  the  cotton  be  dried  in  the  shade,  with  free 
access  of  air.” 

It  appears  from  the  account  of  the  gentlemen  ap- 
pointed at  Manchester  to  superintend  and  repeat  M. 
Borell’s  process,  that  the  cotton  had  increased  to  the 
' amount  of  one-fifth  of  its  original  weight,  previous  to 
the  maddering  or  imparting  the  colouring  matter, 
though  it  had  been  well  washed  previous  to  that  ope- 
tion.  This  increase  arose  assuredly,  from  the  effect 
produced  by  the  oil,  and  by  the  galls,  in  combining 
with  the  earth  of  alum  and  fixing  upon  the  cloth.  For 
there  is  no  doubt  whatever,  but  the  alum  would  be 
decomposed  by  both  these  substances,  and  insoluble 
compounds  would  be  thus  formed. 

The  reader  having  attended  to  Borell’s  process,  as 
I have  thus  given  it,  which  I well  know  to  be  sufficient 
to  produce  a good  colour,  living  at  Manchester  at  the 
time  and  long  after,  and  being  attentive  to  the  pro- 
ceedings that  took  place  on  the  occasion,  I wish  him 
carefully  to  read  over  the  process  of  Papillon,  as  de- 
tailed by  Dr.  Bancroft,  with  the  Doctor’s  remarks 


296 


upon  it,  wherewith  I fully  agree.  If  a man  will  be  a 
dyer  and  understand  his  business,  he  must  study  and 
repeat  in  a small  way  the  Turkey  red  process,  which 
however  complicated,  and  in  many  respects  unscien- 
tific, is  the  most  instructive  process  in  the  whole  art 
of  dyeing  upon  cotton. 

I mean  this  book  to  consist  of  practice  and  not  of 
theory;  but  some  remarks  and  explanations — some 
reason  for  prefering  one  process  to  another,  is  indis- 
pensable. But  it  would  lead  me  beyond  my  proposed 
limits  of  remark,  if  I were  to  discuss  at  length,  all  the 
circumstances  that  induce  me  to  make  the  following 
observations  on  the  Turkey  red  dye. 

1.  The  decreasage  or  half  bleaching  may  be  done 
in  the  common  way  at  a bleacher’s,  belter  than  in  the 
first  step  of  the  Adrianople  red.  Tlie  goods  should 
be  perfectly  clean  from  all  kind  of  dirt  and  no  more.- 

2.  The  Gallipoli  oil  is  used  commonly  for  cheap- 
ness; but  it  has  a far  better  recommendation.  It  con- 
sists of  the  dregs  and  mucilaginous  part  of  olive  oil 
after  the  clear  part  long  left  to  settle,  is  drawn  off.  It 
is  in  my  opinion  of  value  in  the  Turkey  red,  in  propor- 
tion to  the  mucilage  it  contains:  for  chemists  know 
that  mucilage  forms  an  insoluble  substance  with  tan- 
nin, as  well  ^s  gelatine. 

The  Gallipoli  oil  might  be  superseded  by  the  oil  of 
poppies,  of  the  sun-flower,  or  by  the  oil  of  the  Benny 
nut,  which  I think  is  sesamum.  But  I am  inclined  to 
believe,  that  whale  oil,  spermaceti  oil,  or  hogs  lard, 
would  answer  a purpose  at  least  equally  good.  I think 
the  tannin  of  the  galls  would  unite  more  insolubly 


297 


: ivith  the  animal  mucilage  of  these  impure  oils,  than 
with  vegetable  oils. 

3.  The  intent  of  mixing  alkali  with  the  oils  is  to 
. form  an  vnperfect  soap.  Papillon’s  proposal  of  adding 
I lirne,  although  it  sharpens  the  alkali,  is  unscientific. 

* We  do  not  want  to  form  a perfect  soap:  such  a soap 
} could  not  be  easily  decomposed.  The  substance  want- 
I ed  is  that  kind  of  uniform  but  still  imperfect  mixture, 

which  the  common  carbonated  alkali  will  form  with 
the  oil:  the  oil  must  not  separate  by  the  addition  of 
water,  but  it  must  not  be  in  perfect  chemical  union. 

4.  Alicant  barilla  is  an  extravagant  article,  that 
ought  never  to  be  used  at  all  unless  by  the  soap 
makers:  it  does  not  contain  one-fourth  of  its  weight  of 
pure  alkali  in  general.  From  an  ounce,  or  480  grains, 
115,2  grains  of  pure  soda  were  procured.  The  rest 
consists  of  neutral  salts  and  other  impurities.  I am  per- 
suaded (not  from  practice,  for  the  process  is  so  trou- 
blesome, that  dyers  do  not  like  to  vary  from  the 
receipt)  that  one-third  of  the  weight  of  potash  would 
effectually  answer  all  the  purposes. 

5.  In  Borell’s  process  about  one  pound  of  barilla  to 
the  pound  of  cotton  is  used  in  152  gallons  of  water. 
About  thirty  pounds  of  Gallipoli  oil,  as  much  alum, 
and  sixteen  pounds  of  galls,  are  used  to  sixty-six 
pounds  of  cotton.  This  does  not  vary  materially  from 
Papillon,  whose  oil  of  vitriol  and  sal  ammoniac  are 
manifestly  deceptions.  Borell  uses  somewhat  more  than 
a pound  and  a half  of  madder  per  pound  of  cotton.  It 
appears  to  me  that  the  alum  is  in  proportion  unneces- 
sarily large. 


2P 


298 


Papilion  uses  one  hundred  pounds  of  barilla,  one  i n 
hundred  pounds  of  lime,  twenty  pounds  of  pearl  ash,  i d 
fifty  pounds  of  oil,  twenty-five  pounds  of  galls,  fifty  j 
pounds  of  alum,  and  (if  I understand  it  rightly)  two  itp 
hundred  and  fifty  pounds  of  madder.  An  enormous  hi 
proportion  both  of  alum  and  madder.  At  Rouen  they  |s 
use,  according  to  Vitalis,  two  pounds  of  madder  per  |ji 
pound  of  cotton;  a quantity,  of  which  I am  well  per- 
suaded,  one  fourth  at  least  is  wasted.  I do  not  believe  k 
that  cotton  can  be  made  to  take  up  per  pound,  the  co-  < : 
louring  matter  of  more  than  a pound  and  a half  of 
good  madder. 

6.  I greatly  approve  of  the  two  distinct  processes  i 
of  animalization,  in  this  dye:  first  with  the  sheep’s  ' 
dung,  secondly,  with  the  blood.  I know  the  effect  i 
is  not  only  good  but  indispensable  to  the  perfec-  i 
tion  of  the  colour,  and  I strongly  incline  to  recom-  'i 
mend  this  practice  to  be  extended  to  all  madder  reds  i 
and  colours  of  which  madder  red  is  the  basis.  It  well 
deserves  to  be  tried  also  on  blacks;  a colour,  which 

on  cotton  is  apt  to  wear  very  rusty. 

7.  Whether  the  alkali  added  to  the  alum  liquor  is 
of  use,  I am  not  prepared  to  affirm  or  deny.  It  will 
certainly  precipitate  the  earth  of  alum:  whether  that 
can  be  taken  up  again  and  uniformly  combined  with 
the  cloth  appears  to  me  uncertain. 

8.  The  avivage  or  enlivening,  is  a very  clumsy 
part  of  the  process.  I know  by  experience  of  my 
own  in  a large  way  on  the  Turkey  red,  that  the  best 
and  simplest  avivage,  (brightening,  or  enlivening 
after  dyeing)  is  by  boiling  the  dyed  goods  in  soft 


299 


t.  water  with  an  ounce  of  white  soajJ  to  the  pound  of 
k dyed  cotton. 

( This  process  is  so  dear,  from  its  tediousness  and  com- 
plication, that  I have  made  many  attempts  to  shorten 
it,  and  make  it  come  cheaper.  When  madder  is  two 
shillings  sterling  per  pound,  this  colour  cannot  be 
dyed  much  under  five  shillings  sterling  per  pound. 
No  brilliant  Turkey  red  can  be  procured  from  grappe 
I or  crop  madder.  The  Lizari  madder  roots,  or  the 
madder  from  Cyprus,  are  necessary.  But  a colour 
nearly  approaching  to  the  Turkey  red,  I have  dyed 
thus. 

The  Editor'* s Process  for  dyeing  an  imitation  of 
Turkey  red. 

Take  your  half  bleached  cotton  hanks.  Work  them 
for  an  hour  and  a half  in  a bath  composed  of  two 
ounces  of  bruised  galls  and  six  ounces  of  sumach  to 
the  pound,  boiled  for  two  hours  previously,  and  strain- 
ed through  a sieve.  Wring  them,  open,  and  cool. 
While  they  are  very  slightly  but  uniformly  moist,  boil 
them  in  an  alum  bath  of  two  ounces  of  alum  to  the 
pound  of  cotton  for  about  an  hour;  drain,  wring  the 
cotton  moderately,  so  as  to  leave  it  equally  moist:  then 
run  it  for  half  an  hour  through  a warm  sheep’s  dung 
liquor,  of  a pint  of  fresh  dung  to  the  pound  of  cotton; 
mix  the  dung  with  a sufficient  quantity  of  water  at  the 
heat  of  about  115°  or  120°.  Then  stream  or  rince  the 
cotton  in  clear  water  immediately  out  of  the  dung 
liquor. 

Fill  up  the  astringent  bath  of  galls  and  sumach  with 
a sufficient  quantity  of  water  to  work  the  cotton  in,  and 


300 


then  break  into  it  four  ounces  of  madder  to  the  pound; 
bring  the  liquor  to  a scald,  or  from  150’  to  160®  of  the 
thermometer,  and  work  the  cotton  in  it  at  this  degree 
of  heat  for  an  hour,  or  till  the  froth  is  no  longer  co- 
loured by  the  madder.  Drain,  wring,  and  rince  the 
cotton  well:  dry  it  in  a moderate  heat  not  exceeding 
115°  of  Fahrenheit’s  thermometer. 

Prepare  a solution  of  the  acetat  of  alumine  or  com- 
mon mordant  used  by  the  callicoe  printers,  thus:  for 
each  pound  of  cotton,  take  four  ounces  of  alum,  and 
five  ounces  of  sugar  of  lead;  dissolve  the  alum  and  the 
sugar  of  lead  separately,  each  in  one  quart  of  hot 
water,  and  when  dissolved  add  the  two  hot  solutions 
together,  stirring  them  for  five  minutes.  Let  them  set- 
tle for  an  hour:  pour  off  the  clear  liquor;  wash  the  re- 
mainder in  a quart  of  hot  water,  let  it  stand  for  an 
hour;  pour  off  the  clear  liquor  and  add  it  to  the  first  or 
strongest  portion.  You  will  now  have  not  quite  three 
quarts  of  liquor  for  each  pound  of  cotton.  Put  this 
liquor  in  a copper  with  two  quarts  more  of  water,  and 
heat  it;  when  blood  warm  enter  your  cotton,  and  work  it 
for  half  an  hour  at  a heat  )^ou  can  bear  your  hand  in, 
or  about  130°  of  Fahrenheit,  by  which  time  the  cotton 
will  be  thoroughly  soaked;  take  it  out,  lay  it  in  a tub, 
and  when  this  preparation  liquor  is  brought  to  a full 
scald,  team  it  upon  the  cotton,  and  let  the  cotton  re- 
main soaking  in  this  liquor  all  night,  covered  with 
cloth  to  keep  in  the  heat.  Then  drain  it,  wring  it,  and 
run  it  for  twenty  minutes  through  a blood-warm 
liquor  of  sheep’s  dung.  Then  immediately  rince  it,  and 
wring  it  again,  leaving  it  moderately  but  evenly  moist. 


# 


301 


Now  dye  it  in  a bath  at  160°  (not  higher)  of  twenty 
ounces  of  madder,  and  half  an  ounce  of  brazil,  and 
half  a pint  of  blood  to  the  pound  of  cotton,  till  the 
madder  colour  is  exhausted.  (If  the  colour  is  not  full, 
run  it  through  the  printers’  liquor  again  with  water 
enough  to  work  the  cotton  in,  and  then  through  a 
madder  bath  with  two  ounces  of  madder  and  half  an 
ounce  of  brazil  to  the  pound.)  Enliven  by  boiling  in 
white  soap  and  water,  an  ounce  to  the  pound  of  cot- 
ton, for  a quarter  of  an  hour. 

A good  colour  and  fast  may  he  dyed  thus.  Steep 
for  six  hours  or  more  in  a bath  of  printers’  liquor, 
made  as  above,  using  four  ounces  of  alum  to  the 
pound  of  cotton.  Drain,  wring.  Then  run  it  through  a 
moderately  hot  sheep’s  dung  liquor;  rince  it;  then  dye 
with  fourteen  ounces  of  madder  and  half  a pint  of 
blood  to  the  pound  of  cotton.  Wash  the  dyed  cotton 
and  dry  it.  Then  run  it  again  through  printers’  liquor 
and  sheep’s  dung.  Then  dye  with  ten  ounces  of  mad- 
der, and  half  an  ounce  brazil  to  the  pound.  Wash  and 
dry.  Enliven  with  an  ounce  of  fine  white  soap  to  the 
pound  of  cotton,  boiling  it  in  water  so  mixed  with 
soap  for  half  an  hour.  The  brazil  improves  the  hue  of 
the  dye.  A little  olive  oil  in  the  enlivening  would  im- 
prove the  cotton  both  to  the  sight  and  the  touch. 

Haussman's  method  of  dyeing  Madder  Red.  Dissolve 
one  part  potash  in  four  parts  boiling  water,  and  add 
half  a part  of  lime.  Dissolve  separately  one  part  alum  in 
two  parts  boiling  water,  pour  the  clear  alkaline  solu- 
ticMi  into  the  solution  of  alum,  which  will  be  first  pre- 
cipitated and  then  the  precipitate  will  be  redissolved. 


302 


Mix  with  this  liquor  a thirty-third  part  of  linseed  oil, 
and  shake  it  well.  Let  the  skeins  remain  immersed 
therein  for  some  hours;  press  them  equally,  and  hang 
them  on  poles  to  dry  in  a warm  place.  When  dry 
wash  them  well  in  clear  water.  Repeat  this  operation 
(the  immersion  and  the  drying).  Dye  with  madder 
from  an  equal  weight  to  thrice  the  weight  of  the  cot- 
ton, adding  always  one  part  of  chalk  or  whiting  to  six 
of  madder.  Repeated  immersions  and  dyeings  will 
make  the  colour  fuller  and  faster.  If  you  dye  with 
three  pounds  of  madder  to  one  pound  of  cotton,  this 
last  will  require  at  least  three  immersions  in  the  oily 
liquor. 

On  this  process  I would  observe,  that  I do  not 
know  that  it  has  been  employed.  Fish  oil  or  Gallipoli 
oil  would  doubtless  answer  as  well  as  linseed  oil.  The 
proportion  of  a thirty-third  part  of  oil  must  not  be 
exceeded.  Haussman  sometimes  gives  four  pounds  of 
madder  to  one  of  cotton.  It  is  certainly  a mistake  not 
to  employ  galls.  The  experiment  has  not  been  repeat- 
ed that  I know  of. 

The  proper  proportion  of  water  to  madder  in  a 
madder  bath,  is  from  ten  to  twelve  quarts  to  the 
pound  of  madder;  a very  concentrated  decoction  does 
not  give  out  the  colour  freely. 

This  colour  is  not  so  bright  or  so  fast  as  the  Tur- 
key red,  but  it  is  a better  colour  than  the  common 
madder  red  in  all  respects;  and  intermediate  between 
the  printers’  red  upon  printed  callicoes,  and  the  Tur- 
key red. 

It  may  be  taken  for  granted,  that  cotton  is  made  to 


303 


approach  the  nature  of  woollen,  and  all  dyed  colours 
upon  cotton  are  rendered  more  permanent  than  other- 
wise they  would  be,  by  the  use  of  blood,  and  sheep  or 
cow  dung,  or  of  a solution  of  glue.  Soaking  in  oil 
also  makes  the  colour  somewhat  more  fixed.  After 
making  this  observation,  founded  on  the  practice  of 
the  callicoe  printers,  and  on  the  method  of  dyeing 
Turkey  red,  I shall  not  insist  on  the  use  of  these  ani- 
mal substances  in  the  other  dyes,  because  I believe 
they  have  never  yet  been  adopted,  although  I am 
fully  convinced  that  they  ought  to  be. 

Browns  and  Chocolates^  are  dyed  with  various  pro- 
portions of  iron  liquor  mixed  with  the  alum.  They  are 
merely  mixtures  of  black  and  red,  wherein  the  black 
colour  is  produced  by  iron. 

Violets.  The  cotton  being  dyed  a light  blue,  i^  gall- 
ed with  two  ounces  of  galls,  and  four  of  sumach;  in 
this  liquor  they  remain  for  a dozen  hours:  drain,  wring 
them:  then  prepare  them  with  half  an  ounce  of  alum 
and  a quarter  of  an  ounce  of  verdigris;  drain,  wring, 
rince  and  dry  them:  prepare  a bath  of  half  a pound  of 
logwood  for  each  pound  of  cotton:  dye  them  in  one 
half  of  this  logwood  liquor;  take  them  out  and  wring 
them.  Run  them  again  through  the  alum  liquor,  re- 
freshed  with  half  an  ounce  of  alum:  drain  and  wring 
them.  Then  dye  them  in  the  other  half  of  the  logwood 
liquor  with  half  an  ounce  of  red-wood. 

In  this  dye,  which  is  not  very  permanent,  you  may 
alter  the  proportion  of  the  ingredients,  according  to 
the  shade  of  colour  required. 

Permanent  violets  can  be  dyed  with  madder  and 


304 


logwood,  after  preparing  in  iron  liquor,  with  alum 
and  blue  vitriol:  or  still  better,  by  giving  a ground  of 
blue  in  the  blue  vat,  and  then  dyeing  a red  with  mad- 
der and  brazil  or  brazilletto. 

It  is  impossible  to  give  directions  for  all  the  various 
slxides  of  browns,  chocolates,  purples  and  violets,  as 
slight  variations  in  the  proportions  of  the  ingredients 
may  be  easily  made  to  suit  each  tint  of  colour. 

Of  the  Yellow  Dye  upon  Cotton.  For  this  colour,  it 
is  not  necessary  that  the  goods  should  be  more  than 
half  bleached. 

For  a full  colour  of  a bright  greenish  yellow,  use 
weld. 

Prepare  in  a bath  of  four  ounces  to  the  pound  of 
alum  and  half  an  ounce  of  blue  vitriol,  by  boiling  the 
cloth^r  yarn  in  it  for  an  hour,  and  letting  it  remain  in 
the  liquor  till  cold.  Drain  it,  wring  it  so  as  to  be  mode- 
rately moist.  (I  should  then  run  it  through  a sheep’s 
dung  liquor  at  the  heat  of  120°  at  the  utmost,  using  a 
pint  of  dung,  and  half  an  ounce  of  pearl  ash,  to  the 
pound  of  cotton;  but  this  is  never  done,  because  the 
dyers  do  not  improve  their  own  processes  by  those  of 
the  callicoe  printers.  T.  C.)  Let  it  remain  in  this 
wrung  and  slightly  moist  state,  for  twenty-four  hours. 

Prepare  a dye  bath  of  a pound  and  a quarter  to  a 
pound  and  a half  of  weld  and  two  ounces  quercitron  to 
the  pound  of  cotton,  by  boiling  the  weld  and  bark  in 
a sufficient  quantity  of  water  for  two  hours;  then  take 
out  the  bundles  of  weld,  and  strain  the  liquor.  Enter 
the  goods  when  the  liquor  is  warm,  and  bring  it  up  to 
a scald,  at  which  heat  continue  the  dyeing,  till  the  co- 


305 


lour  is  exhausted  or  the  required  shade  is  obtained. 
This  colour  may  be  enlivened  by  boiling  for  half  an 
hour  in  an  ounce  of  white  soap  to  the  pound  of  cotton. 

The  shade  of  yellow  may  be  altered  by  omitting  the 
blue  vitriol  or  blue  copperas, .by  diminishing  the  alum, 
by  adding  an  ounce  of  pearl  ash  per  pound  of  cotton 
to  the  weld  liquor. 

D’Apligny,  whose  directions  I have  not  exactly 
followed,  says  that  a good  yellow  may  be  dyed  on  cot- 
ton by  turmeric;  and  that  it  can  be  fixed  by  means  of 
a solution  of  sulphur  of  antimony  in  fixed  alkali.  This 
may  be  so,  but  I do  not  know  any  thing  practically  on 
the  subject.  I am  not  sanguine  about  its  success,  not 
having  any  approbation  to  bestow  upon  turmeric. 

I say  nothing  about  dyeing  cotton  yellow  with  the 
numerous  tribe  of  yellow  drugs  that  are  mentioned  in 
the  common  books  of  dyeing,  because,  as  I have  said 
before,  tw'o  or  three  drugs  easily  procured,  and  with 
which  the  dyer  is  well  acquainted,  will  answer  all  the 
required  purposes.  I know  that  the  hickory,  the  bar- 
berry root,  the  golden  rod,  the  yellow  broom,  the 
poplar,  and  many  others,  may  be  employed  for  yellows; 
but  a dyer  needs  only  weld,  quercitron  and  fustic  (old 
fustic).  Indeed  the  latter  might  be  discarded,  for  it  is 
a dull  and  fugitive  colour,  and  not  much  cheaper  here, 
if  at  all,  than  our  native  quercitron,  which  is  now  the 
staple  yellow  of  Europe. 

When  quercitron  bark  is  used  instead  of  weld,  Ban- 
croft prescribes  at  the  utmost  but  eighteen  pounds  of 
bark  to  one  hundred  pounds  of  cloth,  or  of  yarn.  The 
quercitron  I know  goes  far  in  point  of  colour,  but  it 

2Q 


306 


must  be  very  choice  to  produce  a full  colour  with  a 
quantity  so  small.  If  for  eighteen  pounds  we  read 
twenty.five,  I do  not  think  there  will  be  reason  to  com- 
plain of  the  alteration.  The  preparation  or  mordanting, 
may  go  on  as  above  directed  in  the  case  of  weld.  But 
the  cloth  or  cotton,  he  says,  should  be  entered  into  the 
dye  bath  when  cold,  and  the  heat  brought  up  gradually, 
and  a boiling  heat  should  not  be  used  for  more  than 
five  minutes,  because  it  is  apt  to  brown  the  colour; 
which  I think  is  right. 

He  is  of  opinion  with  Chaptal,  that  a small  quantity 
of  lime  added  to  the  quercitron  bath  improves  the 
colour. 

He  finds  that  the  durability  of  the  colour,  both  of 
weld  and  quercitron,  is  improved  by  the  additon  of 
a small  quantity  of  sulphat  of  copper  (blue  vitriol  or 
blue  copperas);  but  he,  with  D’Apligny,  advises  it  to 
be  applied  in  a separate  bath  after  the  cotton  is  dyed. 
I am  not  persuaded  that  the  difference  is  worth  the 
trouble  of  a separate  operation. 

He  seems  to  think  favourably  of  Haussman’s  re- 
commendation of  adding  chalk  to  the  aluminous  solu- 
tion to  destroy  the  effect  of  the  superfluous  acid:  I 
have  read  so  many  processes  of  Haussman  in  which 
I put  but  little  faith,  that  I am  not  inclined  to  adopt 
this.  If  my  method  of  using  the  dung  liquor  with 
pearl  ash,  after  aluming,  be  adopted,  the  chalk  is  ren- 
dered unnecessary.  Of  the  utility  of  my  proposal  I 
entertain  no  doubt. 

Bancroft  recommends  as  an  aluminous  mordant,  the 
acetat  of  alumine  or  printers’  liquor,  to  be  substituted 


3i’ 


5 0 


I 


f 


307 

instead  of  the  sulphat  of  alumine,  or  common  alum. 
For  this  purpose,  he  recommends,  to  obviate  the  ob- 
jection of  expense,  only  one  pound  of  sugar  of  lead  to 
three  pounds  of  alum,  though  he  acknowledges  that 
it  requires  a pound  of  sugar  of  lead  to  decompose  a 
pound  of  alum.  For  my  own  part,  having  made  ex- 
periments to  ascertain  this  important  fact,  I find  that 
one  pound  and  a quarter  of  sugar  of  lead  is  hardly 
sufficient,  but  that  it  requires  nearly  one  pound  and  a 
half  of  this  substance  to  decompose  a pound  of  alum, 
and  to  form  a perfect  acetat  of  alumine.  A fact  which 
the  reader  would  do  well  to  ascerj|iin  for  himself.  Of 
this  I shall  say  more  when  I come  to  the  mordant  for 
callicoe  printing. 

I have  no  objection  to  the  acetat  of  alumine  as  a mor- 
dant, of  which  I full  well  know  the  value;  but  it  is 
I still  too  dear  for  common  work:  nor  can  this  objection 
be  fully  obviated,  by  employing  white  lead  or  litharge 
dissolved  in  vinegar,  though  I believe  some  expense 
may  now  and  then  be  thus  saved.  But  common  vine- 
gar is  foul,  and  often  contains  iron;  whereas  sugar  of 
lead,  which  is  made  from  distilled  vinegar,  can  always 
be  depended  on. 

Bancroft  recommends  using  the  acetat  of  alumine  in 
solution,  warm  and  not  hot:  then  to  dry  the  cotton  im- 
pregnated with  it,  in  a stove  heat:  then  to  soak  it  again 
in  the  acetat  of  alumine:  then  to  moisten,  or  rather 
wet  it  with  lime  water,  to  prevent  the  bad  effect  of  the 
vinegar  on  the  colouring  matter  in  the  dye-bath:  then 
to  dry  it  again  in  a stove  heat:  then  to  soak  it  again 
(for  a full  colour)  in  the  acetat  of  alumine,  and  again 


308 


to  moisten  it  with  lime  water;  then  to  dry  it,  and  after- 
wards dye  it.  I have  no  objection  to  all  this,  but  the 
trouble  and  the  expense. 

I think  the  sheep’s  dung  or  cow  dung  liquor  will  .. 
answer  a better  purpose  than  the  lime,  and  it  has  the 
sanction  of  experience  in  every  callicoe  printing  shop 
to  support  it:  but  I have  no  objection  to  two  soakings 
for  a full  colour. 

Of  Yellow  with  Fustic.  This  is  a cheap,  and  there- 
fore an  useful  dyeing  drug,  but  the  colour  is  neither 
so  good  nor  so  fast  as  weld  or  quercitron. 

The  common  m^^dant  is  alum  and  verdigris  in  the 
usual  proportion;  but  fustic  is  better  adapted  for  drabs 
and  olives  than  it  is  for  yellow  alone.  Chaptal  says 
that  the  muddiness  of  the  fustic  colour  is  owing  to  an 
astringent  part,  or  coloured  tannat,  which  can  be 
thrown  down  by  a solution  of  glue,  and  then  the  yel- 
low is  as  clear  and  as  bright  as  a weld  colour. 

Of  Buff  Colour  upon  cotton.  The  finest  buif  I ever 
saw  I dyed  myself  on  some  white  velveret  with  nitrat 
of  iron  recently  made,  and  raised  it  in  lime  water;  but 
this  colour  is  too  dear  for  common  use,  though  it  will 
pay  well  enough  in  fine  goods.  In  Manchester,  they 
use  tinned  iron  plates  dissolved  in  nitric  acid,  which 
is  no  improvement,  for  the  tin  is  so  much  oxyded  by 
the  aqua  fortis,  that  it  falls  down  in  a white  insoluble 
sediment.  I do  not  know  that  the  tin  would  be  any  im- 
provement if  it  could  be  applied  to  the  cloth,  for  a 
bulf  colour;  but  to  do  this,  the  mordant  must  be  tin 
plates  in  aqua  regia  made  with  equal  parts  nitric  and 
muriatic  acid,  and  the  tin  dissolved  slowly. 


309 


Common  buffs  are  made  by  an  iron  stain,  given  by 
dipping  the  goods  in  a hot  solution  of  green  vitriol; 
then  take  them  out,  wring  them,  open,  and  air  them; 
then  raise  the  colour  in  lime  water.  Repeat  this  ac- 
cording to  the  depth  of  the  colour  required.  All  these 
buffs  stain  with  tea. 

Fugitive  buffs  are  made  with  fustic  and  annatto, 
but  this  ought  not  to  be  used  even  on  the  commonest 
goods. 

Nankin  Colour.  I am  not  certain  whether  the  im- 
ported nankin  coloured  callicoe  be  dyed  or  not.  I have 
seen  cotton  wool  of  that  colour.  Be  that  as  it  may,  we 
have  no  perfect  imitation  of  it.  The  best  1 know  of  is 
this. 

Prepare  your  cotton  in  printers’  mordant  diluted  as 
little  as  possible,  soaking  the  cotton  in  the  mordant 
blood  warm  for  several  hours.  The  quantity  of  mor- 
dant used  may  be  in  the  proportion  of  four  ounces  of 
alum  to  the  pound  of  cotton,  with  the  necessary  por- 
tion of  sugar  of  lead.  Then  wring  the  cotton,  and 
having  made  a solution  in  five  quarts  of  water  of  two 
ounces  of  galls  to  the  pound  by  boiling  them  till  soft, 
and  then  straining  the  liquor,  let  it  remain  till  it  is  at 
the  heat  of  120“,  and  then  add  a pint  of  sheep’s  dung 
to  the  pound;  work  the  cotton  in  this  liquor  during  an 
hour  at  this  heat,  and  let  it  remain  soaked  therein  for 
a couple  of  hours  more;  wring  it,  and  rince  it.  Then 
dye  it  in  a decoction  of  mahogany  shavings  at  the  rate 
of  a pound  and  a half  to  the  pound  of  cotton,  at  a full 
scald  or  boiling  heat,  for  an  hour.  Drain  and  wash  it. 
If  you  want  a deep  colour,  repeat  the  whole  process. 


310 


If  the  acctat  of  alumine  made  as  above  directed 
(with  about  a pound  and  a quarter  of  sugar  of  lead  to 
a pound  of  alum)  should  be  too  dear,  Bancroft’s  pro- 
portion may  be  used  of  one  pound  sugar  of  lead  to 
three  pounds  of  alum;  or  even  alum  alone  might  be 
used,  putting  half  an  ounce  of  pearl  ash  into  the  dung 
liquor. 

Orange.  Dye  the  cloth  a crimson  with  the  tin  mor- 
dant, and  brazil,  with  a little  cochineal:  then  run  it 
again  through  the  mordant  and  use  two  ounces  of 
quercitron  to  the  pound  of  cotton. 

Red  Cinnamon.  Madder  will  not  produce  an  orange 
colour,  but  it  will  produce  a red  cinnamon  colour. 
Dye  the  cotton  with  alum  two  parts,  blue  vitriol  half 
a part,  and  weld  or  quercitron  in  proportion.  If  weld, 
use  half  a pound  to  the  pound  of  cotton;  if  quercitron 
use  three  or  four  ounces  to  the  pound.  Wash  the 
cotton. 

Then  refresh  your  preparation  bath  with  two  ounces 
of  alum  to  the  pound;  work  the  goods  as  usual  for  an 
hour:  then  dye  with  two  ounces  of  galls  and  fourteen 
ounces  of  madder  to  the  pound.  Brighten  the  colour 
by  boiling  for  half  an  hour  in  an  ounce  of  soap  to  the 
pound  of  cotton. 

The  following  transcript  of  my  notes  on  dyeing, 
taken  while  I attended  to  those  subjects  at  Manches- 
ter, are  worth  perusal  as  a summary  of  the  actual  pro- 
cesses there  for  dyeing  on  cotton.  I copy  them  some- 
what enlarged  from  the  Domestic  Encyclopedia  of 
Dr.  Mease,  to  whom  I gave  them. 

Drab  Colours.  The  mordant  or  preparation,  two 


31i 


ounces  of  alum  and  as  much  green  copperas  to  the 
pound  of  cotton.  Dye  with  fustic  and  sumach,  of  each 
half  a pound,  for  a full  colour.  There  can  be  no  doubt 
with  me  but  an  intervening  dung  liquor  would  fasten 
and  deepen  the  colour. 

Greenish  Olive.  The  mordant  or  preparation,  three 
ounces  green  copperas,  and  one  ounce  of  blue  cop- 
peras. Fustic  and  logwood,  of  each  half  a pound. 

Brownish  Olive.  In  lieu  of  three  ounces  of  fustic 
and  as  much  logwood  in  the  preceding  receipt,  added 
six  ounces  of  sumach.  If  for  a reddish  olive,  add  a 
couple  of  ounces  of  madder,  and  an  ounce  of  alum  in 
the  preparation  instead  of  an  ounce  of  the  copperas. 

Mud  Colour.  Prepare  with  equal  parts  of  alum  and 
copperas,  and  dye  with  sumach. 

Bloom.  Prepare  with  alum  and  copperas,  three 
ounces  of  alum  and  one  of  copperas.  Or  for  a fine  co- 
lour prepare  with  the  common  scarlet  composition,  or 
tin  in  nitric  acid  with  sal  ammoniac  and  nitre.  Dye 
with  equal  parts  of  logwood  and  sumach.  Tin  dis- 
solved in  three  parts  nitric  acid,  and  one  muriatic  acid, 
will  answer:  or  equal  parts  of  the  two  acids. 

Purple.  Prepare  with  the  common  tin  mordant.  Dye 
with  logwood  and  brazilletto,  adding  an  ounce  of 
verdigris  to  the  pound  of  cotton. 

Chocolates  and  Browns.  Prepare  first  with  green 
copperas  two  ounces  to  the  pound  of  cotton;  then  dye 
with  twelve  ounces  of  fustic,  and  half  an  ounce  of 
pearl  ash:  w'ash  and  dry:  then  add  to  the  green  cop- 
peras liquor,  an  ounce  of  blue  copperas,  and  work  the 
goods  iu  it:  then  dye  in  logwood  liquor,  four  ounces 


312 


to  the  pound:  then  finish  with  Brazil  and  the  tin  com- 
position if  a bright  colour  be  wanted.  1 think  the  cloth 
might  be  prepared  at  once  and  dyed  at  once,  with  the 
above  ingredients  of  green  and  blue  copperas  together 
in  the  preparation,  and  fustic  and  logwood  in  the  dye 
liquor,  and  then  finished  if  necessary  with  tin  and 
brazil. 

Fast  Buffs.  Tinned  iron  plates,  (refuse  cuttings  of 
a tinman’s  shop)  dissolved  in  aqua  regia,  three  parts 
nitric  and  one  muriatic  acid.  Then  raise  the  colour  in 
lime  water,  about  half  a pint  lime  to  the  gallon  of 
liquor.  Repeat  the  process  for  a full  colour. 

Nankin.  Prepare  with  alum:  add  to  a decoction  of 
fustic,  as  much  solution  of  Spanish  annatto  in  pearl 
ash  as  is  necessary  to  give  the  required  colour.  This  is 
not  a colour  that  will  bear  washing,  the  annatto  being 
fugitive. 

Another.  Prepare  with  a mordant  of  three  ounces  of 
alum  and  as  much  tartar  or  argol  dissolved  in  water,  in 
proportion  of  a pound  of  alum  and  a pound  of  argol, 
to  two  gallons  of  water.  Immerse  the  cotton  yarn  in 
this  hot  solution  for  two  hours;  drain  it;  wring  it;  dye 
it  in  a decoction  of  mahogany  shavings  pound  for 
pound. 

Or,  prepare  the  cotton  in  the  second  red  of  the 
printer’s  mordant,  then  dye  with  mahogany.  Finish  by 
running  it  through  a weak  tin  mordant. 

Chamois.  Add  a little  sumach  to  the  mahogany. 

Fast  Yellow.  Prepare  with  alum  and  dye  with  weld 
or  quercitron.  Or  prepare  in  the  secontT  red  liquor. 

Common  Yellow.  Alum,  then  dye  with  quercitron 
or  fustic,  and  verdigris. 


313 


F as  t Green.  Indigo  blue  ground,  prepared  with 
alum,  or  second  printers’  red,  and  dyed  with  weld  or 
quercitron. 

False  Green.  Prepare  with  one  ounce  alum,  and  two 
ouHces  blue  copperas:  dye  with  four  ounces  fustic  and 
twelve  logwood. 

Bottle.  Instead  of  fustic,  take  fustic  and  sumach 
equal  parts,  with  a little  green  copperas  in  the  pre- 
paration. 

Fast  Violets.  A light  indigo  blue;  then  prepare  either 
with  two  ounces  alum,  or  a second  printers’  red,  and 
dye  with  madder  and  brazil. 

Common  Violets.  Prepare  with  alum;  dye  with  log- 
wood. 

Plumb  Colour.  Prepare  first  with  galls  an  ounce  to 
the  pound.  Then  with  alum.  Then  dye  with  brazil, 
and  logwood. 

Flea  or  Puce  Colour.  Dye  first  with  annatto  and 
pearl  ash:  then  prepare  with  galls;  then  with  alum;  dye 
with  logwood  and  a little  brazil. 

Coquelicot.  A ground  of  annatto;  galls  an  ounce  to 
the  pound;  alum  two  ounces  to  the  pound,  or  even 
three  ounces;  dye  with  logwood,  putting  in  a little 
brazil  toward  the  end  of  the  dye. 

A more  fugitive  coquelicot  is  made  with  saffron  in- 
stead of  annatto,  but  a brighter  colour. 

Grays.  Galls,  logwood,  oak  sawdust,  according  to 
the  required  shade;  preparation,  green  copperas,  and 
now  and  then  a very  small  quantity  of  blue  copperas. 

Black.  Dye  a deep  fast  buff,  raised  either  in  lime  or 

2 R 


314 


alkali;  dye  with  oak  sawdust,  logwood,  and  either 
galls  or  sumach,  with  a little  verdigris. 

Or,  dye  a deep  raised  buff;  then  with  half  a pound 
logwood,  two  ounces  galls,  twelve  ounces  madder, 
Avith  about  six  ounces  sumach  or  alder  bark.  If  \he 
colour  should  not  be  deep  enough,  run  it  again  through 
the  astringent  liquor  with  a little  verdigris. 

Red for  Common  Reds;  gall  the  cotton;  alum  it;  dye 
with  a pound  and  a quarter  at  least  of  madder  to  the 
pound  of  cotton.  The  cotton  must  be  a good  half- 
bleach colour. 

Or,  for  very  fine  and  fast  reds,  soak  the  cotton  for 
four  or  six  hours  in  the  common  printers’  mordant 
for  first  red;  drain  and  wring  it;  gall  it  with  three 
ounces  to  the  pound  of  galls;  dye  it  with  a pound  and 
a half  of  madder  and  two  ounces  brazil  to  the  pound. 
Brighten  with  an  ounce  of  soap,  boiling  it  for  fifteen 
minutes,  putting  in  the  cotton  when  the  soap  is  dis- 
solved. This  is  a good  and  rich  colour,  but  expensive. 

Turkey  or  Adrimiople  Red.  Boil  the  gray  cotton 
in  water  for  an  hour  and  a half,  with  an  ounce  of 
soft  soap  to  the  pound.  Wash  it.  Dissolve  in  five 
quarts  of  water  an  ounce  of  pearl  ash,  and  an  ounce  of 
fish  oil  or  Gallipoli  oil  to  each  pound  of  cotton.  Let 
the  cotton  macerate  in  this  liquor  hot,  for  six  hours; 
wash  it.  Immerse  it  during  ten  days  in  fish  oil.  Wring 
it,  rince  it  well  and  hang  it  up  to  dry.  Gall  it,  with 
four  ounces  galls,  and  as  much  sumach,  to  the  pound: 
wring  and  rince  it;  run  it  for  an  hour  and  a half  through 
alum  liquor,  four  ounces  to  the  pound.  Again  through 
the  astringent  liquor;  again  through  the  alum  liquor 


315 


refreshed  with  an  ounce  of  alum;  then  through  sheep’s 
dung;  rince  it  immediately;  wring  it;  then  dye  it  in  a 
madder  bath  of  a pound  and  a half  of  madder,  and  half 
a pint  of  blood  to  the  pound.  Wash  it.  Brighten  in 
white  soap  and  water. 

Pink.  With  safflower,  as  I have  already  directed. 

Scarlet  and  Crimson.  Tin  in  aqua  regia  as  the  pre- 
paration; then  dye  with  brazil.  Again  in  the  prepara- 
tion, and  again  dye  in  brazil  with  a little  cochineal 
(a  quarter  of  an  ounce  to  the  pound)  for  the  finishing. 
Neither  brazilletto,  nicaragua,  cam,  or  red-wood  as 
it  is  called,  will  produce  this  colour.  You  cannot  dis- 
pense with  brazil  unless  you  use  cochineal. 


SOME  OBSERVATIONS. 
% 


ON 

CALLICOE  PRINTING. 


I HARDLY  know  any  business  on  which  so  little  has 
been  written,  or  so  little  publicly  known  as  callicoe 
printing.  I cannot  give  here  a full  description  of  this 
very  ingenious  and  important  art,  for  want  of  some 
recent  information  I wait  for,  and  for  want  of  plates 
to  describe  the  machinery;  but  my  notes  and  observa- 
tions taken  when  I attended  to  this  business  myself, 
will  not  be  without  their  value  at  this  day.  Many  pro- 
eesses  have  been  improved,  and  some  new  ones  in- 
vented, but  the  ground  work  of  the  art  remains  the 
same. 

The  following  general  view  of  the  subject,  (a  few 
additional  remarks  excepted)  I owe  to  Dr.  Gregory; 
it  is  a good  description  of  the  general  principles  of 
callicoe  printing,  and  will  be  a proper  preface  to  what 
I have  to  say  of  my  own  knowledge. 

Callicoe  printing  (art  de  fabriquer  les  Toiles  peintes, 
ou  Indiennes)  is  the  art  of  communicating  different 
colours  to  particular  spots  or  figures  which  form  a 


317 


I ■ 

picture  or  pattern  on  the  surface  of  the  cloth,  while 
the  other  parts  retain  their  original  whiteness.  This 
. art  has  been  practised  in  India  for  more  than  two 
> thousand  years. 

But  in  London,  callicoe  printing  was  not  introduced 
i till  about  the  year  1676,  since  which  it  has  been  en- 
• couraged  by  several  acts  of  parliament. 

’ This  art  depends  upon  impregnating  those  parts  of 
the  cloth  which  are  to  receive  a colour,  with  a chemi- 
I cal  composition  or  mordant  as  it  is  called,  and  then 
dyeing  it  as  usual  with  some  appropriate  dye-stuff. 
The  dye-stuff  but  slightly  stains  the  parts  of  the  cloth, 
not  impregnated  with  mordant,  but  the  colouring 
' matter  attaches  itself  firmly  to  that  part  of  the  cloth 
that  has  received  the  mordant;  so  as  to  form  a three- 
fold chemical  union,  between  the  mordant,  the  co- 
i louring  matter,  and  the  cloth  itself.  The  cloth  itself 
would  form  no  chemical  union  with  the  mordant  alone, 
which  by  repeated  washings  in  hot  water  can  be 
washed  out — nor  with  the  colouring  matter  alone, 
\vhich  a boiling  in  bran  and  soap  and  water,  would 
easily  discharge;  but  when  the  mordant,  the  colour- 
ing matter,  and  the  cloth,  meet  together  at  a heat  ap- 
proaching to  boiling,  an  union  takes  place,  which  the 
common  processes  of  washing  the  cloth  in  a family 
when  W'orn  and  soiled,  seldom  destroy  entirely,  tliough 
often  repeated.  The  whole  surface  of  the  cotton  is  in- 
deed more  or  less  tinged,  but  by  first  boiling  it  with 
bran,  and  then  washing  and  bleaching  it  for  some  days 
on  the  grass  wnth  the  Wrong  side  upwards,  all  the  un- 
mordanted parts  resume  their  original  colour,  while 


318 


those  which  have  received  the  mordant  retain  the  co- 
lour given.  Suppose  that  a piece  of  white  cotton  cloth 
is  to  receive  red  stripes,  all  the  parts  where  the  stripes 
are  to  appear,  are  covered  by  mechanical  contrivances 
with  a solution  of  the  earth  of  alum  in  the  acid  of  vine- 
gar, or  acetat  of  alumine,  known  in  a printing  shop  by 
the  name  of  printers’  mordant,  red  colour,  or  red 
liquor;  after  this  the  cloth  is  dyed  after  the  usual  man- 
ner with  madder.  When  taken  out  of  the  dyeing  ves- 
sel, it  is  all  of  a red  colour;  but  by  washing  and  bleach- 
ing, the  madder  is  discharged  from  every  part  of  the 
cloth  which  remains  white,  except  the  stripes  impreg- 
nated with  the  acetat  of  alumine  which  remain  red.  In 
the  same  manner  may  yellow  stripes,  or  any  other 
wished  for  figure  be  given  to  cloth,  by  substituting 
weld,  quercitron  bark,  or  fustic  for  madder. 

When  different  colours  are  to  be  given  to  different 
parts  of  the  cloth  at  the  same  time,  it  is  done  by  im- 
pregnating it  with  various  mordants.  Thus  if  stripes 
are  drawn  upon  a cotton  cloth  with  acetat  of  alumine, 
and  other  stripes  with  acetat  of  iron,  and  the  cloth 
afterwards  dyed  in  the  usual  way  with  madder,  and 
then  washed  and  bleached,  it  will  be  coloured  ret/  and 
brown.  The  same  mordants  with  quercitron  bark  give 
yellow,  and  olive-drab. 

The  mordant  chiefly  employed  in  callicoe  printing, 
are  acetat  of  alumine  and  acetat  of  iron.  These  mor- 
dants are  applied  to  the  cloth,  either  by  blocks,  on 
which  the  pattern  is  cut,  and  some  old  hat  or  felt  fixed 
to  take  up  a fuller  quantity  of  coloured  mordant,  or 
by  rollers,  on  which  the  pattern  is  cut  and  which  re- 


ceive  the  mordant  slightly  coloured,  by  being  made  to 
touch  thick  cloth  woven  for  the  purpose  whereon  the 
mordant  is  smeared — or  by  a pencil  dipped  in  the  mor- 
dant, which  is  thus  painted  on  the  cloth.  The  mordant 
is  slightly  coloured  that  its  boundaries  may  be  seen. 
As  these  mordants  are  intended  for  particular  parts 
only  of  the  cloth,  care  must  be  taken  that  they  do  not 
spread  to  other  parts  which  are  intended  to  be  white, 
and  that  they  do  not  interfere  with  one  another  when 
several  are  applied;  otherwise  all  the  elegance  and 
beauty  of  the  pattern  would  be  destroyed.  It  is  neces- 
sary therefore  that  the  mordants  should  be  of  such  a 
degree  of  consistence,  that  they  will  not  spread  beyond 
the  places  of  the  cloth  whereon  they  are  applied.  This 
is  done  by  thickening  them  with  flour  either  in  its  com- 
mon state  or  dried  to  a brown  colour,  or  by  starch,  or 
latterly  in  England  by  the  mucilaginous  extract  of 
some  of  the  class  of  lichens,  when  the  pattern  is  to 
be  printed  by  a block;  they  are  thickened  usually  with 
gum  arabic  or  gum  Senegal,  when  they  are  applied  by 
the  pencil.  This  thickening  should  never  be  greater, 
than  is  absolutely  necessary  to  prevent  the  spreading 
of  the  mordants:  when  carried  too  far,  the  cotton  is  apt 
not  to  be  sufficiently  saturated  with  mordant,  and  of 
course  the  dye  takes  imperfectly. 

In  order  that  the  parts  of  the  cloth  impregnated  with 
mordant,  may  be  distinguished  by  their  colour,  it  is 
usual  to  tinge  the  mordants  with  some  colouring  mat- 
ter or  other.  The  printers  commonly  use  the  decoc- 
tion of  brazil  for  this  purpose:  but  Dr.  Bancroft  has 
objected  to  this  method,  because  he  thinks  that  the 


320 


brazil  wood  impedes  the  subsequent  process,  and  is 
displaced  during  that  operation,  by  the  superior  affinity 
of  the  dye-stuff  of  the  mordants.  Was  it  not  for  this 
superior  affinity,  the  colour  would  not  take  at  all.  Dr. 
Bancroft  advises  to  colour  the  mordant  with  some  of 
the  same  dye-stuff  that  is  afterwards  to  be  applied,  and 
he  cautions  against  the  using  of  more  for  this  purpose, 
than  is  necessary  to  make  the  mordant  distinguishable 
from  the  other  parts  of  the  cloth.  The  reason  of  this 
precaution  is  obvious.  If  too  much  dye  is  mixed  with 
the  mordant,  a great  proportion  of  the  mordant  will 
be  combined  w’ith  colouring  matter,  which  must 
weaken  its  affinity  for  the  cloth,  and  of  course  prevent 
it  from  combining  in  sufficient  quantity  to  ensure  a 
permanent  dye.  At  present  the  parched  flour  suffices 
for  the  purpose  of  colour,  and  printers  dispense  with 
the  brazil. 

Sometimes  these  two  mordants  are  mixed  together 
in  different  proportions;  and  sometimes  one  or  both  i 
are  mixed  with  an  infusion  of  sumach  or  nut  galls.  By 
these  contrivances  a great  many  varieties  of  colour  are 
produced  by  the  same  dye  stuft'.  Thus,  reds,  browns, 
chocolates,  clarets,  and  even  blacks  may  be  dyed  in 
one  and  the  same  madder  copper,  if  the  cloth  be  pre- 
viously impregnated  with  acetat  of  alumine  unmixed, 
with  acetat  of  iron  with  a strong  decoction  of  galls, 
and  with  acetat  of  alumine  and  of  iron  mixed  together  i 
in  various  proportions.  So  yellows,  drabs,  olives  and 
blacks  may  be  in  like  manner  produced  from  the  mor- 
dants above  mentioned,  when  the  piece  is  dyed  with 
weld  or  quercitron,  and  a little  decoction  of  sumach 
added  toward  the  last. 


321 


After  the  mordants  have  been  applied,  the  cloth 
^ must  be  carried  to  a stove-room,  heated  something 

I short  of  a blood  heat,  to  be  dried.  This  heat  drives  off 
gradually  the  acetic  acid  combined  with  the  mordant, 
and  produces  a more  complete  union  between  the  alu- 
mine  and  the  cloth. 

When  the  cloth  is  sufficiently  dried  it  is  to  be  winced 
through  warm  water  and  cow  dung,  till  the  flour, 
starch  or  gum  used  to  thicken  the  mordant,  as  well  as 
the  superfluous  part  of  the  mordant  itself,  not  com- 
bined with  the  cloth,  are  removed.  The  cow  dung 
serves  to  entangle  these  loose  parts  of  the  mordants, 
and  to  prevent  them  from  combining  with  those  parts 
of  the  cloth  which  are  to  remain  white.  (The  cow  dung 
serves  first,  to  combine  with  the  mordant  and  prevent 
its  spreading,  by  furnishing  a small  quantity  of  co- 
louring matter;  secondly,  it  furnishes  also  animal  mat- 
ter, which  makes  the  mordant  combine  in  greater 
I quantity  and  more  perfectly  with  the  cloth;  thirdly,  it 
washes  away,  by  means  of  warm  water,  the  thickening, 
and  the  superfluous  mordant.  T.  C.)  After  this  the 
cloth  is  thoroughly  rinced  in  clear  water,  quickly  after 
coming  out  of  the  dung  liquor. 

Almost  the  only  dye  stuffs  employed  by  callicoe 
printers,  are  indigo,  madder,  logwood,  sumach,  weld, 
quercitron  bark,  and  fustic;  and  the  latter  might  be 
dispensed  with.  Nor  is  weld  used  unless  for  delicate 
greenish  yellows,  on  fine  chintz  patterns;  although 
much  of  it  is  grown  in  England,  but  tiot  quite  so  good 
as  in  France.  Quercitron  bark  has  nearly  superseded 
the  weld,  because  it  gives  colours  eqyally  good,  and 

2 S 


4 


322 

is  much  cheaper  and  more  convenient,  not  requiring 
so  great  a heat  as  weld;  nor  does  it  stain  the  white  so 
much  as  weld.  Indigo  not  requiring  any  mordant,  is 
usually  either  dyed  with  paste- work  on  reserves,  or 
laid  on  with  a block,  or  a pencil. 

It  is  prepared  by  boiling  together  indigo,  and  pot- 
ash made  caustic  by  quicklime,  and  orpiment:  the  so- 
lution is  afterwards  thickened  with  gum.  It  must  be 
carefully  secluded  from  the  air,  otherwise  the  indigo 
would  soon  be  regenerated,  and  the  solution  become 
useless.  Dr.  Bancroft  has  proposed  to  substitute  coarse' 
brown  sugar  for  orpiment:  it  is  equally  efficacious 
in  rendering  the  indigo  soluble  by  deoxyding  it, 
while  it  likewise  serves  all  the  purposes  of  gum. 

Let  us  now  give  an  example  or  two  of  the  manner 
in  which  the  printers  give  particular  colours  to  calli- 
coes.  Some  callicoes  are  printed  only  with  one,  some 
with  two,  three,  or  more,  even  to  the  number  of  twelve. 
The  fewer  the  colours,  the  fewer  are  the  processes  ne- 
cessary. 

First,  one  of  the  most  common  colours  on  printed 
cottons,  is  a kind  of  nankin  yellow^  of  various  shades, 
down  to  a deep  yellowish  brown  or  drab.  It  is  usually 
in  stripes  or  spots.  To  produce  it,  the  printers  besmear 
a block  cut  out  into  the  figure  or  pattern  proposed, 
with  acetat  of  iron  thickened  with  gum  or  flour;  it  is 
then  applied  to  the  cloth  in  the  usual  way,  which  be- 
ing dried  and  cleaned,  is  plunged  into  an  alkaline  ley 
made  from  potash  (or  into  lime  water.  T.  C.)  The 
quantity  of  acetat  of  iron  is  always  proportioned  to 
the  depth  of  the  shade.  Secondly,  for  yelloxv^  the  block 


323 


is  besmeared  with  red  colour,  or  acetat  of  alumlne;  it 
is  then  run  through  cow  dung,  and  washed,  and  dyed 
with  weld,  quercitron  or  fustic;  and  then  boiled  in  bran 
and  water,  and  bleached  on  the  grass  the  wrong  side 
upward.  Thirdly,  red  is  communicated  by  the  same 
process,  only  madder  is  substituted  for  the  yellow 
drugs.  Fourthly,  the  fine  light  blues  which  appear  so 
often  on  printed  callicoes,  are  produced  by  applying 
to  the  cloth,  a block  smeared  with  a composition  (paste 
or  reserve)  consisting  partly  of  wax,  which  covers  all 
those  parts  of  the  cloth  that  are  to  remain  white.  The 
cloth  is  then  dyed  in  a cold  indigo  vat  made  with  in- 
digo, quicklime  and  green  copperas,  which  does  not 
affect  the  parts  so  protected  by  the  paste  or  reserve. 
This  is  afterwards  removed  by  washing  in  hot  water. 
Fifthly,  lilac^  flea-brown,  and  blackish  brown,  are 
given  by  means  of  acetat  of  iron;  the  quantity  of 
which  is  always  proportioned  to  the  depth  of  the  shade. 
For  very  deep  colours  a little  sumach  is  added.  The 
cotton  is  afterwards  dyed  in  the  usual  manner  with 
madder,  and  then  branned,  and  bleached  on  the  grass. 
Sixthly,  dove  colour  and  drab  are  produced  by  acetat 
of  iron  and  quercitron  bark. 

When  different  colours  are  to  be  applied  and  appear 
in  the  same  print,  a greater  number  of  operations  are 
necessary:  two  or  more  blocks  are  employed,  upon 
each  of  which  that  part  of  the  print  only  is  cut,  which 
is  to  be  of  some  particular  colour.  These  are  besmear- 
ed with  different  mordants,  and  applied  to  the  cloth, 
which  is  dyed  as  usual.  Let  us  suppose,  for  instance, 
that  these  blocks  are  applied  to  cotton,  one  with  ace- 


324 


tat  of  alumine,  another  with  acetat  of  iron,  a third  with 
a mixture  of  these  two  mordants,  and  that  the  cotton 
is  then  dyed  with  quercitron  bark,  branned  and  bleach- 
ed. The  parts  impregnated  with  the  mordants  would 
have  the  following  colours; 


Quercitron 
bark  with 


{ 


acetat  of  alumine 
iron 

the  mixture 


} would  J 
produce  j 


yellow'. 

olive,  drab  or  dove, 
olive  green,  olive. 


If  part  of  the  yellow  is  pencilled  with  an  indigo  blue, 
a fast  green  will  be  produced  on  the  yellow,  and  other 
saddened  shades  of  green  on  the  other  colours. 


If  the  cotton  is  dyed  with  madder,  instead  of  quer- 
citron, the  print  will  exhibit  the  following  colours: 

{acetat  of  alumine  q ,,  ("red. 

iron  V < brown,  black, 

the  mixture  J purple,  chocolate. 

According  to  the  strength  of  the  mordant,  and  the 
strength  of  the  dye- liquor.  If  two  or  three  reds  of 
different  intensities  are  required,  it  is  managed  by 
using  the  acetat  of  alumine  strong  for  the  deepest  red, 
and  diluted  for  the  weaker  shades.  So  a strong  con- 
centrated iron  liquor,  and  plenty  Of  madder,  will  pro- 
duce a black;  if  weak,  it  will  be  merely  a brown.  In 
like  manner  the  shades  can  be  varied,  when  the  same 
mordants  are  dyed  with  weld  or  quercitron  bark. 
Different  shades  of  colour  will  also  be  produced  by 
the  same  mordants  when  dyed  with  logwood,  as  when 


325 


we  see  black,  gray,  and  purple,  upon  low-priced 
callicoes. 

When  a great  number  of  colours  are  to  appear,  for 
instance  when  those  communicated  by  bark,  and  those 
by  madder,  are  wanted  at  the  same  time,  mordants  for 
part  of  the  pattern  are  to  be  applied;  the.cotton  is  then 
to  be  dyed  in  the  madder  bath,  branned  and  bleached: 
then  the  rest  of  the  mordants  to  fill  up  the  pattern  are 
added,  and  the  cloth  is  again  dyed  with  quercitron 
bark,  branned  and  bleached.  The  second  dyeing  does 
not  much  affect  the  madder  colours,  because  the  mor- 
dants that  render  them  permanent  are  already  satu- 
rated. The  yellow  tinge  is  easily  removed  by  the  sub- 
sequent bleaching. 

Sometimes  a new  mordant  is  also  applied  to  some 
of  the  madder  colours,  in  consequence  of  which  they 
receive  a new  permanent  colour  from  the  bark.  After 
the  last  bleaching  on  the  grass,  new  colours  may  be 
added  by  means  of  the  indigo  pencil-blue.  The  fol- 
lowing table  will  give  an  idea  of  the  colours  that  may 
be  givdn  to  cotton  by  these  complicated  processes. 


MADDER  DYE. 

Mordants. 

Acetat  of  alumine,  - 
diluted, 
further  diluted, 

Acetat  of  iron,  - - - . 

diluted, 

Acetat  of  alumine  and  iron. 


Colours  produced. 
Deep  red. 
Second  red. 
Third  red. 
Brown  or  black. 
Lilac. 

Purple. 


326 


BARK  DYE 

Acetat  of  alumine,  - 
iron,  - 

Lilac  and  acetat  of  alumine, 

Red  and  acetat  of  alumine,  - 

INDIGO  dy: 

Indigo  alone,  ... 

Indigo  on  yellow, 

Indigo  on  brown  or  drab, 

Thus  may  a dozen  colours  be  produced  on  a single 
piece  by  varying  these  processes.  The  above  requir-e 
but  two  dyeings,  one  with  madder,  the  other  with 
quercitron  or  weld.  (The  addition  of  galls  or  sumach 
to  the  yellows,  produces  saddened  varieties  of  yellow; 
and  of  logwood  to  madder,  changes  in  the  colour 
which  madder  alone  would  produce.  T.  C.) 

(The  blocks  are  smeared  with  the  mordant  in  the 
following  manner.  By  the  side  of  the  printing  table 
stands  a tub  or  drum  (chassis)  near  to  the  printer. 
This  drum  is  filled  with  thickening  of  paste,  starch  or 
gum,  according  to  the  required  work.  Over  this 
thickening  is  closely  and  tightly  fixed  a covering  of 
thick  but  finely  woven  cloth,  usually  manufactured 
for  the  purpose.  This  is  kept  moist  by  the  thickening 
which  it  touches  below,  and  upon  which  it  is  pressed 
every  time  the  printer  puts  his  block  upon  it.  A little 
boy  called  a tear-boy  has  beside  him  a pot  of  the  re- 
quired mordant  properly  made  and  thickened  by  the 
colourman;  he  dips  a brush  in  this  mordant  and 


Yellow. 
Dove,  draoU 
Olive. 
Orange. 


E. 


Blue. 

Green. 
Bottle  green. 


327 


smears  enough  on  the  cloth  that  forms  the  drum-head, 
for  the  block  to  take  up  and  apply  to  the  cloth.  The 
printer  usually  presses  the  block  twice  on  the  drum- 
head so  smeared,  and  when  he  fixes  it  on  the  cloth 
gives  it  a gentle  blow  with  a wooden  mallet. 

In  some  cases,  callicoes  are  printed  by  rollers,  made 
of  copper,  accurately  turned,  and  engraved  with  a 
pattern.  Cloth  is  smeared  with  a mordant,  and  the 
rollers  are  so  made  to  turn  in  contact  with  the  smear- 
ed cloth,  as  to  fill  the  pattern  with  the  mordant,  of 
which  the  superfluous  quantity  is  scraped  off  by  a 
plate  of  steel  with  a fine  edge,  which  hangs  loosely 
upon  the  roller  the  whole  length  of  it,  and  is  very  ac- 
curately fitted  to  its  surface.  The  motion  of  the  roller 
against  this  steel  doctor  as  it  is  called,  occasions  all  the 
superfluous  mordant  to  be  scraped  oflf,  after  which  the 
callicoe  immediately  follows,  and  is  printed  by  the 
pressure  it  undergoes  between  the  engraved  copper 
roller  and  another,  immediately  above  or  below  it.  The 
callicoe  is  then  dyed  in  the  usual  way.  Callicoes  may 
thus  be  printed  a single  colour,  at  the  rate  of  a piece 
every  five  minutes  very  easily.  Indeed  it  does  not  take 
above  a minute  for  the  piece  to  go  through.  By  means 
of  a series  of  these  rollers,  three,  and  as  I have  heard 
even  four  colours  have  been  printed,  but  I do  not  un- 
derstand that  they  are  much  in  use  for  more  than  a 
single  colour. 

In  some  cases,  the  pieces  are  printed  not  with  a 
mordant  alone  and  then  dyed,  but  with  the  mordant 
and  colour  together,  or  with  a colouring  drug,  that 
does  not  require  a mordant;  these  are  colours  of  appli- 


32S 


cation,  or  as  the  trade  call  them,  chemical  colours;  a 
name  not  very  characteristic.  This  mode  of  printing 
being  not  so  permanent  as  when  the  colours  are  dyed, 
is  seldom  used  unless  for  common  goods,  or  such  as 
are  not  likely  to  undergo  frequent  washings. 

Another  mode  of  printing  lately  introduced,  is 
called  discharging,  when  by  means  of  an  acid,  such 
as  the  oxygenated  muriatic  acid,  a piece  of  callicoe 
dyed  throughout,  has  the  colour  discharged  in  certain 
spots  or  places  that  form  a pattern  upon  the  cloth. 
T.  C.) 

These  remarks  will  serve  to  give  the  reader  an  idea 
of  the  nature  of  callicoe  printing,  and  at  the  same 
time  afford  an  excellent  illustration  of  the  nature  of 
mordants  in  dyeing. 

If  it  was  possible  to  procure  colours  sufficiently 
permanent  by  applying  them  at  once  to  the  cloth  by 
the  block  or  the  pencil,  as  is  the  case  with  the  mor- 
dants, the  art  of  callicoe  printing  would  be  brought 
to  the  greatest  possible  simplicity;  but  at  present  this 
can  only  be  done  in  one  case,  that  of  indigo;  every 
other  colour  requires  dyeing.  Compositions  indeed 
may  be  made  by  previously  combining  the  dye-stuff 
and  the  mordants.  Thus  yellow  may  be  applied  at  once 
by  employing  a mixture  of  the  infusion  of  quercitron 
bark  and  acetat  of  alumine;  red  by  mixing  the  same 
mordant  with  decoction  of  madder,  and  so  on.  The  co- 
lours applied  in  this  way  are  unfortunately  far  inferior 
in  permanency  to  those  produced  when  the  mordant 
is  previously  combined  with  the  cloth,  and  the  dye- 
stuff afterwards  applied  separately.  In  this  way  are 


329 


actually  applied  almost  all  the  fugitive  colours  of  com- 
i mon  callicoes  which  washing,  or  even  exposure  to  air, 
i will  destroy.  As  the  application  of  colours  in  this  way, 
! cannot  always  be  avoided  by  callicoe  printers,  every 

(method  of  rendering  them  permanent  is  an  object  of 
importance.  Gregory's  Encyclopadia,  art.  Callicoe. 

: Such  is  a general  outline  of  the  theory  of  callicoe 

I printing.  I proceed  now  to  some  notes  on  the  practice. 
There  are  few  callicoe  printers  in  this  country; 
those  who  would  wish  to  set  up  the  business,  will  of 
course  be  glad  to  know,  first,  what  kind  of  work  and 
what  kind  of  goods  they  can  most  conveniently  begin 
with;  and  secondly,  what  capital  it  will  require.  1 should 
be  glad  to  furnish  if  I could,  accurate  information  on 
these  particulars;  but  the  trade  is  so  hew  here,  that  the 
! country  furnishes  no  data.  The  best  I can  do  is  to  fur- 
1 nish  my  own  memoranda  of  five  and  twenty  years  ago, 

I from  which  persons  interested  in  the  question  will  be 
I enabled,  however,  to  form  a tolerable  judgment  of  the 
requisites  of  the  concern. 

The  following  then  are  the  estimates  of  an  establish- 
ment of  twelve  tables  at  a place  and  time,  where  and 
when  common  day  labour  was  from  twenty-one  to 
twenty-four  pence  sterling  per  day,  and  thirty  pence 
sterling  to  the  common  workmen  in  the  bleach-field. 

At  the  period  in  question,  the  following  drugs  sold 
wholesale  at  the  prices  I have  set  down. 
Madder(Dutch)  at  all  prices,  from  50  shil-  s.  d. 

lings  sterling,  to  per  cwt.  - - 5 10  0 

The  common  price  given  for  that  used  in 
good  work  was  - 

2 T 


4 10  0 


330 


;C- 

0 

- 32 
10 

- 9 
8 

- 1 

2 

100 


s. 

5 

0 

0 

0 

0 

2 

16 

0 


8 10 


1 4 


0 16 
0 18 


Weld,  per  bundle  of  28  pounds,  - 
Quercitron  bark,  per  ton, 

Old  fustic,  per  ton,  - . - 

New  fustic  (Venetian  fustic) 

Logwood,  .... 

Sumach,  per  cwt.  - - 

Smyrna  madder  roots,  per  cwt. 

Brazil  wood,  per  ton,  . . . 

Brazilletto,  . - . . 

Cam  wood,  per  cwt.  rasped. 

Bar  wood,  _ . . . 

Peach  wood,  . - . . 

Safflower,  .... 

Galls,  in  sorts,  .... 

Blue  galls,  .... 

Alder  or  oiler  bark,  per  cwt.  about 
Saccharum  saturni  (acetat  of  lead) 

Alum  in  lumps,  per  cwt. 

Guatimala  indigo,  per  pound, 

Carolina  indigo,  . \ . . 

East  India  indigo,  about 

Of  this  last,  as  it  was  just  known,  little  was  used. 
Gray  callicoes,  twenty-eight  and  a half  yards  long, 
were  bleached  for  ten  pence  each,  and  sold  when 
bleached,  wholesale  at  eleven  to  twelve  pence  per  yard, 
or  rather  twenty-five  shillings  per  piece,  for  a three 
months  bill.  When  they  required  to  be  fired  to  burn 
off  the  rough  nap  or  pile,  the  bleacher  charged  a penny 
per  piece  extra.  A gra^  callicoe  weighed  generally 
seven  and  a quarter  pounds;  when  bleached  six  and  a 


3 

7 

9 

0 


10 

10 

10 

3 


0 16 
0 11 
0 3 
0 5 


331 


half  pounds.  At  that  time,  the  printing  trade  of  Man- 
chester and  its  vicinity,  amounted  from  six  thousand 
I to  six  thousand  five  hundred  callicoes  per  week. 

! At  that  time  (as  now)  no  printer  found  it  his  advan- 
tage to  bleach  his  own  callicoes;  they  were  always  sent 
to  a regular  bleacher,  as  they  now  are.  So  that  the 
printer  needed  no  bleaching  establishment  as  he  would 
here,  where  for  many  years  he  must  bleach  his  own 
goods.  Ashes  are  now  two-thirds  higher  in  price  than 
they  were  at  that  time.  Oil  of  vitriol  then  sold  at  three 
pence  half-penny  sterling  per  pound  when  concentrated 
to  twenty- nine  and  a half  ounces  to  the  wine  pint,  in 
glass:  when  concentrated  as  it  was  in  Scotland  in  lead^ 
it  could  be  afforded  at  three  pence  per  pound.  Arne- 
\ rican  potash  cost  three  pence  half-penny  per  pound, 
Dantzick  pearl  ash  four  pence. 

Such  were  the  prices  of  common  labour,  and  the 
‘ drugs  necessary  to  a printer  and  dyer. 

A printer’s  establishment  then,  would  consist  of 
His  house  on  the  spot. 

A bleach-green  proportioned  to  his  work,  with  plenty 
* of  running  water. 

’ A printing  shop;  if  for  a double  row  of  tables,  nine 
yards  wide  at  least:  if  for  a single  row,  at  least 
five  yards  wide. 

The  printing  room  requires  a stove. 

There  must  be  a large  stove-room  adjoining,  to  hang 
up  the  callicoes  when  printed. 

A ware-house,  and  counting-house. 

A drug-room. 


332 


A colour- room  adjoining. 

A dye-house:  the  fire-places  of  the  coppers,  to  be  on 
the  outside. 

Coppers,  See.  The  coppers  should  be  from  four  to  five 
feet  over:  furnished  with  plugs  (not  cocks.) 

A blue  dye-house  for  paste  work,  with  vats  lined  with 
sheet  lead. 

A dash  wheel,  or  else  a streaming- house  with  running 
water  passing  through  a trough  to  wince  the 
pieces  in,  after  souring. 

A souring  tub. 

Plane  tree  squeezers,  and  calender. 

A room  for  roller-work. 

Wages  of  Journeymen  Printers. 


Single  black  or  chocolate,  per  piece 

- I2d 

Black  and  red  - 

19 

Blotched  black  and  red  . . . 

- 22 

Blotched  black,  red,  and  purple 

30 

Black,  red  and  purple  ... 

- 28 

Black  ground  chintzes,  four  colours  - 

39 

five  do. 

- 48 

Light  ground  chintzes,  four  colours  - 

36 

five  do. 

- 45 

six  do. 

54 

Three  overs  of  kinds  per  colour  round  - 

- 8 

Apprentices'*  Prices. 

One  colour 

6 

Two  ^ 

- 9 

Three  .....  k 

12 

Three  . . . 

- 13| 

/ 


f 

I ' 

I ; 

I i 

1 : 333 

! j Three ISd 

I I Four  colours,  light  ground  - . - 16 

^ Do 17  and  18 

Five  - - - - - - 20  to  22 

Light  ground  sometimes  per  colour  round  - 4 

Hence  the  expense  to  a printer,  at  that  time,  of  a 
piece  of  callicoe  printed  chintz-work  four  colours, 


would  be  as  follows. 

s. 

d. 

The  callicoe  reckoned  at  a shilling  per  yard 

1 

8 

0 

Duty  at  that  time  .... 

0 

6 

3 

Madder  mordant,  or  red  colour 

0 

1 

0 

Madder  to  raise  the  reds  ... 

0 

2 

4 

Yellow  colour  (mordant)  ... 

0 

0 

6 

Raising  the  yellow  .... 

0 

0 

10 

Blue  colour  ..... 

0 

1 

0 

Pencilling  blue  and  green 

0 

3 

0 

Grounding  - - - 

0 

1 

0 

Souring  in  the  first  instance,  streaming. 

dunging,  squeezing,  calendering. 

making  up,  cartage,  and  other  arti- 

cles of  labour  . . . - 

0 

1 

0 

Rent  of  the  establishment 

0 

2 

0 

Printing  four  colours,  journeyman’s 

wages  ..... 

0 

3 

3 

^.2  10  2 

Common  Work,  Three  Colours. 

Value  of  the  callicoe,  twenty-eight  shillings,  duty 
six  shillings  and  three  pence,  rent  two  shillings,  print- 
ing three  colours  two  shillings  and  four  pence,  mad- 


334 


der  two  shillings,  colour  (that  is  mordant)  six  pence, 
souring,  labour,  &c.  one  shilling. — Together,  two 
pounds  two  shillings  and  a penny  prime  cost. 

Suppose  an  establishment  of  a dozen  tables,  which 
is  moderate;  indeed  twice  the  number  would  be  more 
frugal. 

£,  s.  d. 

Twelve  tables  cost  at  that  time  two 

guineas  each  - - - - 25  4 0 

Seventy-two  blocks  to  begin  with,  or  sets 

of  patterns,  at  three  guineas  each  226  6 0 

Forty  tubs  and  sieves  - - - 12  0 0 

Three  coppers,  from  four  to  five  feet  top 

diameter  - - - - 66  0 0 

Winces,  squeezers,  troughs,  souring 

tubs,  &c.  - - - - 60  0 0 

Stock  of  drugs  ...  - 250  0 0 

Cloth,  (callicoe)  to  be  calculated  at  four  thousand 
pieces  printed  per  annum,  if  kept  in  full  employ. 
The  capital  returned  in  nine  months. 

A man  and  boy  to  each  table.  (Printer  and  tear-boy: 
the  latter  at  three  shillings  per  week.)  Pencillers 
are  employed  at  about  the  same  price, .viz.  two 
to  three  shillings  a week. 

A colourman. 

Two  block-cutters. 

Two  dyers,  and  two  boys. 

Two  bleachers,  and  two  boys. 

Team  and  driver. 


335 


This  establishment  will  hardly  afford  a pattern- 
drawer.  In  London,  there  are  several  persons  who 
make  it  their  sole  business  to  devise  and  sell  new 
patterns,  at  five  shillings  sterling  per  dozen.  But  as 
the  great  profit  of  this  business  depends  upon  the 
knowing  how  to  choose  patterns  that  are  likely  to  take 
with  the  public,  and  to  know  by  looking  at  them,  the 
probable  expense  of  cutting  and  printing  them,  it  is 
useful  to  have  your  own  pattern  drawer,  who  may  be 
consulted  in  cases  of  hesitation,  with  your  colourman 
and  best  printer.  A block-cutter  or  two,  to  mend  the 
blocks  and  cut  fresh  ones,  in  such  a printing  establish- 
ment in  England,  is  indispensable.  A block-cutter 
used  to  earn  from  a guinea  to  a guinea  and  a half  per 
week;  a pattern-drawer  had  from  a guinea  and  a half 
to  two  guineas. 

Such  are  the  data,  from  whence  an  intelligent  man 
in  this  country  may  sit  down  and  count  the  cost. 

I am  not  persuaded  that  a callicoe  printing  estab- 
lishment will  be  for  some  time  an  eligible  speculation 
on  a large  scale.  We  are  not  yet  (1815)  ripe  for  it,  un- 
less, indeed,  we  print  East  India  coarse  callicoes  with 
chemical  colours  and  roller-work.  The  business  will 
creep  on  gradually,  but  it  is  not  in  my  opinion  ad- 
viseable  to  launch  out  yet.  At  present  every  man  must 
be  his  own  bleacher  as  well  as  printer.  However,  the 
the  time  is  coming  on,  when  we  can  print  our  own 
manufactured  callicoes:  so  that  the  information  here 
given  will  not  be  thrown  away:  like  bread  cast  upon 
the  waters,  it  will  be  found  again  after  many  days. 


356 


Of  the  Process  of  preparing  CallicoeSy  making  the 
Mordants^  and  printing  Raised  Colours. 

When  the  goods  come  from  the  bleachers,  although 
the  colour  be  good,  you  cannot  depend  that  all  the 
alkaline  and  earthy  salts  are  completely  washed  out: 
should  any  such  remain,  they  will  act  as  mordants  to 
the  white  part  of  the  cloth,  and  stain  it  so  when  dyed, 
as  to  make  it  very  troublesome  to  clear  the  white, 
unless  at  the  expense  of  the  pattern  colours.  Hence 
every  printer  finds  it  absolutely  necessary,  to  immerse 
his  white  callicoes  in  sulphuric  acid  and  water,  about 
the  strength  of  weak  vinegar,  for  several  hours  before 
he  can  venture  to  print  them.  This  dissolves  all  the 
saline  substances  that  may  still  remain  in  the  cloth, 
and  renders  them  soluble  in  the  water  which  is  used 
to  wash  away  this  souring.  Some  bleachers  use  warm 
water  for  the  purpose:  others  wince  them  for  an  hour 
after  souring,  in  a trough  through  which  a stream 
runs  about  three  feet  deep:  others  use  for  the  purpose 
the  common  dash  wheel.  Much  labour  and  some  ex- 
pense would  be  saved,  by  using  paper  or  cloth  tinged 
with  litmus,  which  would  show  at  once  whether  any 
acid  remains  in  the  callicoe. 

When  the  printer  bleaches  his  own  goods,  he  should 
finish  either  with  oxymuriatic  acid,  or  with  the  com- 
mon vitriolic  souring;  in  which  case,  nothing  is  ne- 
cessary further  but  washing  so  well  as  to  be  sure  that 
no  acid  remains,  which  when  concentrated  in  the  heat 
of  the  printing. shop,  would  rot  the  goods. 

The  goods  being  thus  soured  and  well  washed,  are 
dried;  then  calendered  with  great  care  to  make  them 


337 


smooth^  and  to  lay  the  threads  straight  and  even.  Then 
they  are  printed  with  the  mordant  for  one  colour, 
whether  to  be  raised  in  madder  or  yellow,  if  acetat  of 
alumine,  or  in  iron  liquor  if  to  be  raised  in  sumach  or 
•logwood.  When  thus  printed  with  one  mordant  they 
are  dried;  then  printed  with  another  and  dried;  then 
with  another,  and  so  on.  When  all  the  mordants  are 
printed  that  serve  for  one  colouring  drug,  as  madder 
for  instance,  the  pieces  when  dry,  are  winced  for  half 
an  hour,  eight,  or  at  the  utmost  ten  at  a time,  through 
hot  liquor  of  sheep’s  dung  or  cow  dung,  using  about 
two  common  pailfuls  to  ten  pieces.  This  may  be  re- 
newed with  another  pailful  of  dung  for  the  next  eight 
or  ten  pieces,  and  then  thrown  away.  The  cow  dung 
acts,  first,  by  preventing  the  colours  from  spreading, 
by  washing  away  superfluous  colour.  Secondly,  by 
saturating  the  spot  printed  with  the  mordant,  with  a 
colour,  which  the  madder,  or  yellow  colour,  can  dis- 
place by  superior  affinity.  Thirdly,  by  affording  ani- 
mal matter,  which  forms  a triple  chemical  union  with 
the  earth  of  alum  and  the  cloth.  Fourthly,  by  saturating 
the  remaining  acetic  acid  and  precipitating  the  alum 
it  held  in  solution  on  the  cloth:  this  is  done  by  the  alka- 
line properties  of  the  animal  dung.  Such  are  the  rea- 
sonable conjectures  on  the  use  of  cow  dung  and  sheep’s 
dung;  which  however  are  indispensable  to  a good  co- 
lour, in  whatever  way  they  operate. 

The  pieces  thus  winced  for  half  an  hour  through 
hot  dung  liquor,  are  then  streamed  or  winced  without 
delay  over  a trough  of  running  water,  or  else  carried 
to  the  dash  wheel.  I prefer  the  former  method:  for  be- 

2U 


33B 


fore  the  ear.h  of  alum  is  saturated  with  colour,  it  seems 
to  me  liable  to  be  washed  away  in  part  by  the  me- 
chanical force  of  the  fall  of  the  cloth  in  the  dash  wheel: 
but  I cannot  speak  with  any  certainty  about  this.  After 
the  dung  liquor,  the  goods  are  usually  laid  down  on 
the  grass  for  a day. 

The  cloth  being  now  printed  with  all  the  mordants 
on  which  the  colouring  drug  in  the  dy.e  copper  is  to 
act,  is  dried;  and  then  eight  pieces  being  tacked  to- 
gethcr,  they  are  dyed  together  at  the  same  time,  by 
wincing  them  incessantly  for  an  hour  in  the  copper 
containing  the  colouring  material. 

Of  Preparing  the  Mordants.  These  are,  the  acetat 
of  alumine,  and  the  acetat  of  iron,  or  what  is  the  same 
thing,  the  pyrolignat  of  iron. 

The  common  method  of  preparing  red  colour,  that 
is,  the  acetat  of  alumine,  is  this:  dissolve  in  one  gallon 
of  boiling  water,  three  pounds  of  bruised  alum;  when 
dissolved  add  one  pound  and  a half  of  sugar  of  lead; 
and  then,  by  degrees,  four  ounces  of  whiting.  The 
quantity  of  sugar  of  lead  here  employed,  is  not  suffi- 
cient to  decompose  the  w’hole  of  the  alum;  hence  the 
use  of  the  whiting,  w'hich  aids  in  decomposing  the 
rest  of  the  alum,  and  prevents  its  crystallizing,  which 
would  spoil  the  work.  The  sulphuric  acid  and  the 
lead  form  an  insoluble  salt  (a  sulphat)  of  lead,  which 
falls  to  the  bottom:  the  lime  of  the  chalk,  forms  an  in- 
soluble sulphat  of  lime,  gypsum;  but  the  alumine  or 
earth  of  alum  which  the  lime  separates,  falls  down  also; 
so  that  it  appears  to  me,  the  whole  of  the  alum  decom- 
posed by  the  chalk  or  whiting,  is  wasted,  and  the  so- 


339 


lution  has  not  half  the  intended  and  supposed  strength. 
So  much  uncertainty  prevails  on  this  head,  that  I in- 
stituted a set  of  experiments  to  ascertain  how  much 
sugar  of  lead  was  necessar)’,  completely  to  decompose 
a given  quantity  of  alum;  and  I found  that  it  took  one 
part  and  a half  of  sugar  of  lead,  to  one  part  of  alum:  I 
found  also,  not  only  that  the  lead  of  this  quantity  of 
sugar  of  lead,  was  quite  sufficient  to  detach  the  sul- 
phuric acid,  but  the  acetic  acid  was  also  sufficient  to 
dissolve  the  alumine.  When  I had  thus  thrown  down 
all  the  sulphat  of  lead,  I added,  by  a drop  at  a time, 
strong  sulphuric  acid,  to  ascertain  whether  the  solution 
contained  sugar  of  lead  undecomposed,  and  I found, 
indeed,  a slight  cloud,  but  too  slight  to  be  appreciated; 
whereas  one  drop  of  solution  of  sugar  of  lead,  dropped 
in  after  the  sulphuric  acid,  showed  a dense  cloud  in- 
stantaneously. Every  printer  ought  to  repeat  this  im- 
portant experiment,  which  is  easily  made. 

Let  him  weigh  out  one  hundred  grains,  for  instance, 
of  sugar  of  lead,  and  as  much  alum,  and  grind  them 
together  into  a fine  powder:  pour  thereon  a wine  pint 
of  boiling  water:  stir  it  till  the  salts  are  dissolved.  Let 
the  sediment  settle  for  an  hour;  pour  off  the  clear 
liquor,  and  filter  the  sediment;  add  the  clear  liquors 
together.  Now  dissolve  separately  in  half  a pint  of 
boiling  water,  fifty  grains  of  sugar  of  lead:  if  all  the 
alum  be  decomposed  in  the  first  solution,  the  addi- 
tion of  more  of  the  sugar  of  lead  will  occasion  no  pre- 
cipitate; but  if  alum  still  remains  undecomposed  in  the 
first  solution,  a precipitate  will  take  place,  when  you 
add  to  it  a solution  of  the  sugar  of  lead;  precisely  for 


340 


, the  same  reason  that  it  did  so  at  first.  Therefore,  to 
the  first  solution  add  half  of  the  sugar  of  lead  solu- 
tion, which  will  contain  twenty-five  grains  of  sugar  of 
lead:  a white  cloud  will  arise:  stir  the  liquor,  filter  it: 
to  the  clear  liquor  thus  filtered,  add  half  the  remain- 
der, sugar  of  lead  solution:  if  a precipitate  appears, 
filter  again:  and  so  on  till  on  the  addition  of  solution 
of  sugar  of  lead,  no  white  cloud  appears  any  more. 

To  satisfy  yourself  that  the  solution  contains  no 
sugar  of  lead,  which  if  you  proceed  cautiously  and 
patiently,  and  by  degrees,  it  will  not,  add  to  it  a few 
drops  of  solution  of  common  alum:  if  there  be  sugar 
of  lead  in  the  liquor,  a white  cloud  consisting  of  sul- 
phat  of  lead  will  appear;  if  no  such  cloud  appears,  you 
have  hit  the  exact  point  of  saturation;  at  least  you 
have  not  added  too  much  sugar  of  lead.  I repeat,  that 
every  callicoe  printer,  and  dyer,  ought  to  perform  this 
experiment  for  himself,  over  and  over,  till  he  has  ac- 
quired such  a facility  of  performing  it,  that  he  be- 
comes satisfied  in  his  own  mind,  there  is  no  mistake. 
For  if  this  experiment  be  just  and  true,  how  can  a 
complete  decomposition  of  the  alum  be  made  by  one 
half  its  weight  of  sugar  of  lead,  which  is  the  usual 
proportion?  Even  Bancroft  says  that  equal  weights  are 
sufficient,  which  is  not  so,  if  my  experiments  be  right. 

Hence  it  is  clear,  that  one  half  of  the  alum  used  is 
thrown  aufay;  for  to  prevent  its  crystallizing,  aiwi 
spoiling  the  work,  pearl  ash  and  whiting  are  added, 
which  throw  down  indeed  the  sulphuric  acid,  but  they 
throw  down  the  aluminous  earth  also,  which  that  sul- 
phuric acid  held  in  solution.  This  mistake  has  arisen 
from  the  expense  of  sugar  of  lead. 


341 


To  supersede  this  expensive  article,  three  methods 
have  been  proposed. 

First,  to  substitute  for  sugar  of  lead,  common 
litharge  dissolved  by  heat  in  common  vinegar.  This 
is  a coarse  kind  of  sugar  of  lead  in  solution.  I have 
never  been  able  to  procure  common  vinegar  free  from 
all  taint  of  iron:  therefore,  such  a solution  as  I have 
been  able  to  make,  might  do  for  browns,  chocolates, 
drabs  and  olives,  but  not  for  good  reds. 

Secondly,  it  has  been  proposed  to  dissolve  whiting 
or  chalk  in  vinegar;  for  the  sulphat  of  lime  is  insolu- 
ble to  a great  degree,  like  sulphat  of  lead.  I have  tried 
this:  my  objection  is,  that  the  chalk  and  whiting  like 
the  vinegar,  are  apt  to  contain  iron,  and  a small  part 
of  the  sulphat  of  lime  also  will  be  dissolved.  Another 
objection  to  both  these  substitutes,  is,  that  they  re- 
quire to  be  concentrated. 

Thirdly,  it  has  been  proposed  to  use  the  common 
portion  of  sugar  of  lead,  together  with  as  much  pearl 
ash  or  whiting,  or  both,  as  will  fully  decompose  the 
rest  of  the  alum:  and  then  to  take  up  the  earth  of  alum 
(the  alumine)  thus  precipitated,  by  vinegar.  I think 
this  may  be  done  to  advantage,  always  taking  for 
granted,  that  you  can  get  vinegar  free  from  iron:  If 
not,  it  would  be  almost  worth  while  to  distil  it. 

After  all,  there  is  no  good  substitute  for  sugar  of 
lead,  in  good  work.  But  after  bestowing  much  consi- 
deration on  the  subject,  I should  advise  this  mordant 
to  be  made  in  the  large  way,  as  I have  been  accus- 
tomed to  make  it  in  the  small  way.  When  I used  it  in 
a large  way  five  or  six  and  twenty  years  ago,  I went 


\ 


342 


to  the  expense  of  the  full  proportion  of  sugar  of  lead 
necessary  to  the  complete  decomposition  of  the  alum. 

Take  then,  equal  parts,  three  pounds  and  a half  for 
instance,  of  alum  and  of  sugar  of  lead:  dissolve  them 
ground  together  into  a powder,  in  one  gallon  of  a hot 
mixture  of  half  vinegar  and  half  water:  add  by  degrees 
while  hot  three  ounces  and  a half  of  whiting;  taking 
care  that  the  vinegar  and  the  whiting  contain  no  iron. 
Stir  the  whole  together,  till  there  is  a complete  de- 
composition. Let  the  sediment  subside  for  six  hours; 
pour  off  the  clear  liquor:  add  to  the  remaining  sedi- 
ment two  quarts  of  water,  which  when  clear  may 
answer  for  a third  red. 

According  to  my  computation  (which  it  is  the 
printer’s  own  fault  if  he  does  not  verify  for  himself) 
more  than  a pound  of  undecomposed  alum  will  re- 
main, when  three  pounds  and  a half  of  each  salt  be 
taken.  This  will  be  prevented  from  crystallizing  partly 
by  the  whiting  and  partly  by  the  vinegar. 

Still,  this  will  not  be  eqtial  to  three  pounds  of  alum, 
four  pounds  of  sugar  of  le^d,  and  two  ounces  of 
whiting,  the  best  of  all  processes  for  this  mordant. 

The  acetat  of  alumine  or  printer’s  mordant,  made 
in  whatever  way,  will  require  to  be  thickened  with 
starch,  with  flour,  or  with  gum  arabic  or  Senegal:  this 
last  is  necessary  for  pencilling.  If  flour  be  used,  ex- 
pose it  to  a degree  of  heat  necessary  to  turn  it  to  a 
light  chocolate  colour,  without  burning  it;  stirring  it 
all  the  while:  this  improves  it  as  a thickening,  and  may 
be  made  to  supersede  the  use  of  brazil  wood  in 
giving  colour  to  the  mordant  to  enable  the  printers  to 


343 


see  the  boundaries  of  the  pattern  when  the  mordant 
is  printed  on  the  piece.  In  general  either  brazil  or  fus- 
tic is  used  for  this  purpose. 

The  sulphat  of  lead  which  forms  the  sediment,  can 
be  converted  either  into  white  lead,  by  boiling  it  with 
carbonat  of  potash,  or  into  metallic  lead,  by  fluxing  it 
with  alkali  and  charcoal,  for  which  consult  the  usual 
docimastic  books. 

When  this  aceto-aluminous  mordant  is  intended 
for  yellows,  a small  proportion  (about  one  twelfth)  of 
blue  vitriol  should  be  mixed  with  the  alum,  especially 
when  a greenish  yellow  is  wanted,  and  weld  is  used. 
/ The  acetat  of  iron  is  made  in  England,  by  persons 
who  have  no  other  occupation.  They  brew  vinegar 
from  grain  or  from  cyder,  and  pour  it  on  old  iron, 
bought  up  cheaply  for  the  purpose.  It  is  not  reckoned 
good  till  it  be  six  months  old.  Others,  especially  those 
who  live  in  the  vicinity  of  gunpowder  manufacturers, 
employ  the  pyroligneous  acid,  procured  from  the  dis- 
tillation of  wood  in  the  process  of  making  charcoal,  in 
lieu  of  vinegar.  Indeed  I believe  this  method  of  making 
the  acetat  of  iron  is  becoming  general.  Plates  of  the 
machinery  used  for  procuring  the  pyroligneous  acid 
are  to  be  found  in  the  new  edition  of  Rees’s  Encyclo- 
pasdia.  The  acetat  of  iron  ought  to  be  very  strong  and 
concentrated;  and  in  that  state  kept  clear,  and  unex- 
posed to  the  air,  by  the  colourman  in  his  drug-room, 
in  close  casks.  For  the  air  oxyds  the  iron  too  much, 
and  makes  it  precipitate. 

The  drug-room  ought  to  be  exclusively  under  the 
care  of  the  colourman,  who  ought  to  have  a small 
room  adjoining  for  the  purpose  of  preparing  his  com- 


344 


positions  or  colours:  for  the  drug-room  ought  not  to 
be  exposed  to  vapour,  or  gases,  or  any  kind  of  mois- 
ture. It  should  be  well  furnished  with  shelves,  pots, 
pans,  scales  and  weights,  and  evCry  utensil  of  that 
kind.  He  should  have  constantly  by  him,  a quarter 
cask  full  of  well  prepared  strong  red  colour^  that  is 
acetat  of  alumine  slightly  tinged  with  brazil  wood; 
and  also  a quarter  cask  full  of  strong  iron  liquor,  close 
covered  from  dust  and  from  the  air.  That  is,  where 
there  is  an  establishment  of  a dozen  tables  or  more. 

Neither  will  it  be  quite  useless  in  this  country  to 
recommend  a practice  which  I have  found  useful,  but 
which  an  old  and  experienced  colourman  may  deem 
unnecessary. 

Having  prepared  some  white  callicoe  by  souring, 
washing,  and  drying  in  the  usual  manner,  let  him  di- 
vide it  neatly  into  pieces  of  about  four  inches  square 
to  the  amount  of  a hundred;  having  thickened  his 
mordants,  let  him  put  a spot  in  the  middle  of  the 
piece  of  callicoe,  employing  all  manner  of  mixtures  of 
mordants;  for  instance. 

Strong  acetat  of  alumine. 

Ditto  diluted  with  one  third  water. 

Ditto  diluted  with  one  half  water. 

Ditto  diluted  with  two-thirds  water. 

Ditto  diluted  with  an  equal  quantity  of  water. 

Ditto  with  one  water  and  a half. 

Ditto  with  two  waters. 

Ditto  with  two  waters  and  a half. 

Ditto  with  three  waters. 

Of  the  above  he  ought  to  have  three  or  four  spe- 
cimens of  each  kind. 


345 


Acetat  of  alumine  one  part:  acetat  of  iron  one  fourth 
of  a part. 

Acetat  of  alumine,  one  part:  acetat  of  iron,  half  a part. 
Acetat  of  alumine,  one  part:  acetat  of  iron,  three- 
fourths  of  a part. 

Acetat  of  alumine  one  part:  acetat  of  iron  one  part. 
Acetat  of  alumine,  one  part:  acetat  of  iron,  one  part 
and  a half. 

Acetat  of  alumine,  one  part:  acetat  of  iron,  two  parts. 
Acetat  of  alumine,  one  part:  acetat  of  iron,  two  parts 
and  a half. 

Acetat  of  alumine,  one  part:  acetat  of  iron,  three  parts. 

Of  the  above  he  ought  to  have  three  or  four  speci- 
mens of  each  kind. 

Acetat  of  iron,  one  part. 

Acetat  of  iron  one  part:  water  half  a part. 

Acetat  of  iron,  one  part:  water,  one  part. 

Acetat  of  iron,  one  part:  water,  one  part  and  a half. 
Acetat  of  iron,  one  part:  water,  two  parts. 

Acetat  of  iron,  one  part:  water,  two  parts  and  a half. 
Acetat  of  iron,  one  part:  water,  three  parts. 

These  should  be  renewed  on  every  fresh  change  in 
the  acetat  of  iron:  no  good  colourman  will  venture  his 
acetat  of  iron  upon  a number  of  pieces,  without  a pre- 
vious trial  in  the  small  way. 

All  the  above  are  necessary  for  the  purpose  of  mad- 
der colours:  and  every  new  purchase  of  madder  should 
be  thus  tried  in  the  small  way,  to  ascertain  its  rich- 
ness in  colour  and  its  tint  of  colour  before  it  is  used 
to  the  goods:  for  madder  in  my  time  bore  various 

2 X 


346 


prices,  from  fifty  to  a hundred  and  ten  shillings  per 
hundred  weight. 

Another  set  of  aluminous  mordants  should  be  pre- 
pared with  a small  quantity  of  blue  vitriol  mixed  with 
the  alum,  as  a mordant  for  yellows.  One  set  should  be 
prepared  for  quercitron,  one  for  weld,  one  for  fustic, 
one  for  sumach. 

Hence  three  or  four  sets  should  be  kept  in  one 
drawer  for  madder  colours:  and  another  for  logwood 
colours. 

The  same  of  both  mordants  for  weld. 

The  same  for  quercitron. 

The  same  for  fustic. 

The  same  for  sumach. 

These  pieces  thus  prepared,  should  be  run  through 
hot  cow  dung,  and  washed  in  the  usual  way. 

It  is  evident  that  with  these  preparatory  specimens, 
properly  numbered  and  registered,  a colourman,  even 
without  much  experience,  cannot  fail  of  printing  any 
colour  to  pattern  with  certainty,  and  with  no  risk  of 
spoiling  a quantity  of  goods.  It  is  evident  also,  that 
each  new  purchase  of  drugs  should  thus  be  tried  in 
the  small  way,  before  you  venture  to  print  to  pattern 
with  them,  for  the  quality  of  the  drugs  cannot  be  ex- 
pected to  be  always  the  same. 

What  is  here  proposed  will  not  take  above  a week’s 
labour  at  the  very  utmost;  and  will  lay  a foundation 
for  accuracy  throughout  the  colourman’s  department. 

The  above  method  of  previous  trials,  is  also  the  best 
method  of  making  experiments  on  the  colours  pro- 
duced by  various  vegetables  upon  cotton,  which  it 


I would  be  well  to  try  with  a view  of  ascertaining  the 
1 riches  of  our  own  country. 

It  is  obvious  from  the  preceding  suggestions,  that 
( all  the  various  shades  of  raised  colours  are  produced, 
) first,  by  varying  the  mordants:  secondly,  by  diluting 
) the  mordants:  thirdly,  by  mixing  the  mordants: 

(fourthly,  by  varying  the  dyeing  drugs,  to  wit,  madder, 
brazil,  logwood;  weld,  quercitron,  fustic;  sumach, 
} galls:  fifthly,  by  mixing  the  colouring  drugs,  as  a 

! little  brazil  with  madder  for  a pinky  red;  a little  su- 
mach with  madder,  for  a saddened  red;  madder  with 

Iyellow-for  orange;  sumach  with  yellow  for  drabs.  See. 

Thus,  suppose  it  was  required  to  print  a chintz 
; pattern,  three  reds,  a purple  or  chocolate,  black,  yel- 
low, olive  or  drab,  blue  and  green. 

First,  the  cloth  is  printed  with  strong  red  colour 
(concentrated  acetat  of  alumine)  for  the  first  or  deep 
red;  then  with  the  same  mordant,  diluted  with  an 
equal  quantity  of  water,  for  the  second  red;  then  with 
the  same  mordant,  diluted  with  two  or  three  waters,  for 
the  third  red.  Then  with  the  same  mordant  mixed 
with  a small  quantity  of  iron  liquor,  for  the  chocolate 
or  purple  according  to  the  shade:  then  with  the  black 
mordant  hereafter  given.  It  is  then  carried  to  the  stove- 
room,  heated  to  from  80”  to  90  of  Fahrenheit,  to  drive 
off  superfluous  acid.  Then  wunced  for  half  an  hour  in 
hot  cow  dung  and  water,  two  small  pailfuls  of  dung  to 
eight  pieces  of  callicoe.  Then  immediately  rinced, 
streamed  or  dashed;  then  dyed  with  from  one  to  three 
pounds’  of  madder  to  the  piece.  Six  or  eight  pieces  are 
fiistened  and  dyed  together,  by  being  wineed  in  the 


348 


madder  liquor  brought  up  to  a sca’d  or  about  170°; 
the  winces  resting  on  the  brim  of  a madder  copper 
about  four  feet  six  inches  wide,  or  if  five  feet,  so  much 
the  better.  If  the  reds  are  to  be  of  a pink  tint,  a little 
brazil  is  added;  if  the  chocolate  is  to  be  deep,  or  where 
there  is  a blacK,  a little  sumach,  or  a little  logwood, 
will  produce  this  effect;  though  sumach  will  slightly 
sadden  the  second  and  third  reds,  and  will  spoil 
purples. 

The  piece  thus  dyed,  is  well  washed:  it  is  then 
boiled  in  bran  and  water  to  clear  the  white;  for  the 
same  purpose  when  washed  out  of  the  bran  and  water, 
it  is  laid  down  on  the  grass,  the  printed  side  under- 
most, to  bleach:  this  will  take  two  or  three  days. 

It  is  then  carefully  and  evenly  calendered  or  run 
through  rollers,  keeping  the  threads  as  straight  as  pos- 
sible. Then  printed  with  acetat  of  alumine  or  red  co- 
lour, containing  a little  blue  vitriol  in  the  proportion 
of  from  one-tenth  to  one-fifteenth  of  the  alum,  for  the 
yellow  colour.  Then  W'ith  the  red  colour  (acetat  of 
alumine)  mixed  with  iron  liquor,  for  the  drab.  It  is 
then  dyed  or  raised  in  weld  or  quercitron,  according 
to  the  quantity  of  colour  in  the  pattern.  These  drugs 
strike  a yellow  with  the  red  colour,  and  a drab  or 
olive  with  the  iron  liquor,  of  a tint  depending  on  the 
proportions  in  which  the  latter  is  mixed  wdth  the  red 
colour.  Quercitron  produces  drab  with  iron,  olive 
with  iron  and  alumine,  and  black  with  iron  if  mixed 
with  a little  sumach. 

The  cloth  being  thus  dyed  (that  is  in  the  printers’ 
language,  raised)  is  again  washed,  branned,  washed, 


349 


and  bleached.  Then  it  is  again  run  through  the  rollers 
as  carefully  as  possible,  and  the  blue  and  green  are 
pencilled  by  boys  and  girls,  who  earn  from  a shilling 
sterling  to  three  shillings  per  week  at  this  kind  of 
work.  The  blue  colour  is  made  as  before  directed  with 
indigo,  caustic  potash,  and  orpiment.  The  cloth  is 
then  dried  and  washed,  dried  again,  and  made  up  for 
the  market.  Such  a piece  of  chintz  work,  can  seldom 
be  brought  into  the  market  from  the  white  state  of 
the  callicoe  as  it  comes  from  the  bleachers,  under  a 
month:  generally  it  takes  in  a course  of  work  five  and 
six  weeks. 

I new  proceed  to  some  practical  directions  on  print- 
ing, wherein  of 

First,  raised  colours:  that  is,  colours  produced  by 
dyeing  the  piece  after  printing  it  with  mordants. 

Secondly,  chemical  colours:  that  is,  colours  applied 
at  once  by  the  block,  without  dyeing. 

Thirdly,  dipped  blues  with  paste  work. 

Fourthly,  patterns  made  by  discharging  parts  of  a 
dyed  piece. 

Roller  work  is  only  peculiar,  as  to  the  mechanical 
operation  of  printing  either  the  mordant,  or  the  chemi- 
cal colour:  it  is  however  the  most  profitable  mode  of 
printing,  particularly  at  this  time,  in  this  country. 

Colours  to  be  produced  by  printing  with  the  mordant 

here  prescribed,  and  then  raised  by  dyeing  the  cloth 

so  printed,  in  a madder  copper. 

Black.  Take  of  strong  iron  liquor,  by  weight,  cal- 
culating a pint  at  a pound,  sixteen  parts:  logwood, 


350 


four  parts:  boil  them  together  for  an  hour.  Then  add 
two  parts  of  powdered  galls,  and  half  a part  of  green 
copperas.  Bring  them  on  to  a boil  in  half  an  hour,  and 
then  add  one  fifth  of  a part  of  nitrated  iron;  that  is, 
iron  slowly  dissolved  in  aqua  fortis,  till  the  acid  will 
dissolve  no  more.  Strain  the  whole  while  hot:  thicken 
with  five  parts  of  gum,  that  is  about  two  and  a half 
pounds  to  the  gallon. 

lied  Water  one  gallon,  vinegar  half  a gallon,  alum 
three  pounds,  sugar  of  lead  four  pounds,  whiting  two 
ounces.  In  my  time,  the  common  receipt  was,  water 
one  gallon,  alum  three  pounds  and  a half,  sugar  of 
lead  two  pounds,  sal  prunell  or  purified  nitre  four 
ounces,  'corrosive  sul'limate  half  an  ounce,  arsenic 
four  ounces,  whiting  one  ounce.  The  sal  prunell  is  of 
no  use  that  I know  of:  the  sublimate  deepens  but  sad- 
dens the  colour.  This  last  composition  is  manifestly  a 
mixture  of  common  alum  and  acetat  of  alumine. 

There  is  great  latitude  taken  by  the  callicoe  printers 
in  the  proportions  of  sugar  of  lead  and  alum.  The 
first  article  is  so  dear,  that  there  is  strong  temptation 
to  lessen  the  quantity.  I have  known  the  proportion 
vary  at  different  works  from  half  a part  of  sugar  of 
lead  to  two  parts.  The  one  is  certainly  too  little,  and 
the  other  certainly  too  much.  I know  of  no  criterion 
but  the  experiment  which  determines  that  the  quan- 
tity required  to  convert  one  part  of  alum  into  acetat  of 
alumine  and  to  throw  down  all  the  sulphuric  acid  of 
common  alum,  is  one  part  and  a half  of  sugar  of  lead, 
very  nearly.  I have  already  dwelt  on  this  subject  in 
speaking  about  mordants. 


351 


Pale  Red.  Water  two  parts  by  weight  (one  pint 
being  a pound),  alum  one-fifth  of  a part,  white  arsenic 
one-fifth  of  a part,  pearl  ash  one-sixteenth,  chalk  one- 
sixteenth:  boil  and  mix  with  gum. 

This  is  an  old  receipt:  the  proper  pale  red,  is  made 
by  diluting  strong  red  to  your  mind.  The  strong  red 
being  made  according  to  the  receipt  I have  just  above 
given. 

Pink  Red  This  is  produced  by  using  a decoction 
of  brazil  wood  with  the  alum  and  sugar  of  lead  instead 
of  water.  Or  better,  by  mixing  brazil  with  the  mad- 
der. 

Dark  Brown  Red.  A small  quantity  of  iron  liquor 
mixed  with  the  red  colour. 

Common  Purple.  Saltpetre  one  part;  cream  of  tartar 
two  parts;  pearl  ash  one-fourth  of  a part;  iron  liquor 
twelve  parts. 

Lilac  or  Laylock  Purple.  Iron  liquor  eight  parts; 
saltpetre  one-fourth  of  a part;  cream  of  tartar  one- 
eighth  of  a part;  corrosive  sublimate  one-fourth  of  a 
part. 

Light  Purple.  The  above  diluted  with  an  equal 
quantity  of  water. 

Dark  Purple.  Iron  liquor  two  parts;  sugar  of  lead 
one-tenth  of  a part;  water  four  parts. 

Blossom.  Iron  liquor  eight  parts;  saltpetre  one-fourth 
of  a part;  when  dissolved  and  hot,  add  half  a part  red 
colour  (acetat  of  alumine.) 

Pompadour.  Black  and  red  liquor  equal  parts; 
thickened  with  gum  dissolved  in  urine. 

All  the  above  purples,  lilacs,  blossoms,  and  pom- 


352 


padours,  are  the  better  for  a little  brazil  mixed  with 
the  madder,  otherwise  the  iron  liquor  saddens  the  co- 
lour too  much.  The  madder  should  be  good. 

Chocolate.  Iron  liquor  two  parts;  light  purple  liquor 
two  parts;  red  colour  four  parts:  or  it  can  be  made 
with  iron  liquor  and  red  liquor  according  to  the  shade. 

Face  or  Flea  Colour.  Red  colour  eight  parts;  iron 
liquor  four  parts;  water  four  parts. 

French  Gray.  Hot  iron  liquor  eight  parts;  sal  am- 
moniac half  a part;  water  sixty-four  parts. 

Stone  Colour.  Saltpetre  one  part;  sugar  of  lead  half 
a part;  green  copperas  one- fourth  of  a part;  water  six- 
teen parts. 

Observations  on  Raising  Madder  Colours.  The  co- 
lours being  printed  and  dried,  are  to  be  winced 
through  cow  dung  and  water,  hot,  but  not  boiling, 
thirty  or  forty  times:  the  instant  after,  they  are  to  be 
rinced  or  streamed,  or  else  dashed  in  the  dash  wheel: 
if  this  be  not  done  soon  after  the  dung  liquor,  the 
pieces  will  be  spoiled.  They  are  then  to  be  fastened 
six  together  and  winced  in  the  madder  copper,  put  in 
cold,  with  from  a pound  to  three  pounds  of  madder, 
and  about  half  a pound  of  sumach  where  the  colours 
require  to  be  saddened,  or  a quarter  of  a pound  of 
brazil  where  the  colours  require  to  be  brightened,  per 
piece:  all  this  depends  on  the  quantity  of  red  in  the 
pattern:  blotch  grounds  will  take  five  pounds  of  mad- 
der per  piece.  The  liquor  is  to  be  brought  briskly  to 
a full  scald  but  no  more,  and  the  pieces  are  to  be 
winced  till  the  colour  is  obtained.  Six  pieces  together 
will  produce  better  work  than  eight:  if  you  tack  ten 


353 


. together,  you  will  run  the  hazard  of  spoiling  your 
I work. 

When  dyed,  stream  and  wash  the  pieces  well;  then 
i boil  them  in  bran  and  water  at  a brisk  scald  for  half 
I an  hour;  a gallon  of  bran  to  a piece,  or  a little  more. 
J Take  them  out,  stream  them,  and  again  boil  them  for 
j twenty  minutes  in  bran  and  water:  then  lay  them 
I down,  the  printed  side  next  the  grass,  till  the  ground 
1 is  white.  They  are  then  streamed  or  dashed,  and  run 
j through  plane-tree  rollers  or  squeezers,  set,  so  that  no 
il  water  can  be  squeezed  out  after  they  have  run  through. 
I But  if  the  squeezers  are  set  thus  tight  for  velverets  or 
f.  such  thick  goods,  they  will  burst. 

‘ Such  was  the  common  English  practice  for  raised 
I madder  colours  in  my  time.  I am  not  able  to  say  what 
variations  have  lately  taken  place  if  any:  but  I think 
it  will  be  expedient  by  and  by  to  present  to  the  reader, 
the  French  practice  for  printing  and  raising  madder 
colours,  though  I by  no  means  think  it  equal  to  the 
English,  wherever  there  is  a difference.  It  will  serve 
however  to  show,  how  much  uncertainty  there  is  in 
the  various  processes  of  printing  as  well  as  of  dyeing. 

My  opinion  is,  that  the  nitre,  the  sublimate,  the 
arsenic,  the  sal  ammoniac,  the  common  salt,  the  pearl 
ash,  and  even  the  chalk,  may  be  dispensed  with,  and 
all  colours  dyed  with  acetat  of  alumine,  and  acetat  of 
iron:  some  little  use  I acknowledge  in  chalk,  and  ver- 
digris, but  he  is  not  a good  printer  who  cannot  pro- 
duce a given  pattern,  with  the  two  mordants  above 
mentioned,  acetat  of  alumine  and  acetat  of  iron. 

Before  I translate  Homassel’s  treatise  on  callicoe 
2 Y 


354 


printing,  I will  finish  my  own  notes  and  observations: 
for  which  purpose  I proceed  to 

Colours  that  are  raised  by  means  of  Weld^  or  JFoulds, 
as  the  printers  call  this  drug. 

Black.  Take  vinegar  three  gallons  (twenty-four 
pounds),  galls  eight  pounds,  logwood  one  pound;  boil 
them  moderately  lor  an  hour,  and  to  every  gallon  of 
clear  liquor,  add  when  cold,  one  quart  of  iron  dis- 
solved in  aqua  fortis.  After  printing,  let  the  colour  lay 
on  for  three  days. 

In  this  receipt,  I see  no  reason  for  the  vinegar.  The 
nitrat  of  iron  too,  though  producing  a fine  colour,  is 
expensive.  I propose  as  a substitute. 

Galls  and  logwood  as  above;  water  one  gallon,  vine- 
gar one  gallon,  strong  iron  liquor  one  gallon,  nitrat  of 
iron  a quarter  of  a pint,  verdigris  one  ounce. 

Yellow.  Water  one  gallon;  alum  three  pounds;  sugar 
of  lead  one  pound  and  a half;  verdigris  two  ounces  and 
a half;  whiting  seven  ounces. 

I object  to  this  as  being  a mixture  of  alumine  in 
the  sulphuric  and  alumine  in  the  acetic  acid.  I pro- 
pose as  a substitute. 

The  common  printers’  red,  made  hot  with  two 
ounces  of  verdigris  finely  ground  in  a pint  of  vinegar 
to  the  gallon.  The  strong  red,  if  a very  full  colour  be 
wanting,  and  diluted,  if  a weak  one. 

Light  Olive.  Six  quarts  of  iron  liquor,  six  ounces 
verdigris,  three  pounds  of  alum,  one  pound  and  a half 
of  sugar  of  lead. 

In  this  receipt  the  mordant  is  deficient  in  sugar  of 


355 


lead,  which  I think  ought  to  be  four  pounds  instead 
of  a pound  and  a half,  and  rfien  less  of  the  aluminous 
mordant  would  be  required.  Thus, 

Take  printers’  red  two  quarts,  iron  liquor  six  quarts, 
verdigris  ground  up  in  a pint  of  vinegar  six  ounces. 

Middle  or  Yellow  Olive.  Increase  the  relative  pro- 
portion of  printers’  red. 

Dark  Olive.  Increase  the  relative  proportion  of  iron 
i liquor. 

Mud  Colour.  Galls  two  pounds,  water  one  pint,  iron 
liquor  three  gallons. 

Another.  Water  eight  quarts,  iron  liquor  as  much, 
green  copperas  four  pounds,  verdigris  six  ounces, 
j ground  up  in  a pint  of  vinegar. 

Stone  Colour.  Vinegar  three  pints;  black  colour 
j above  described  one  pint. 

To  raise  the  above  colours,  stove  and  dung  them 
as  directed  for  madder  colours.  K velveret  will  take 
about  half  a bundle  of  woulds.  Jeanets  and  callicoes 

I 

somewhat  less;  for  a velveret  weighs  when  bleached, 
about  nine  pounds,  a callicoe  about  six  and  a half 
pounds.  Boil  the  woulds  (weld)  for  three  quarters  of 
an  hour,  then  take  them  out,  and  keep  your  piece  in 
ji  the  coloured  liquor  at  a scalding  heat  till  the  colours 
are  sufficiently  raised.  Where  there  are  blacks,  you 
* must  add  galls  or  sumach  to  the  bran  liquor  in  which 
you  afterward  boil  your  pieces.  Bran  them,  and  lay 
them  down  as  directed  for  madder. 


356 


Colours  to  be  raised  -with  Quercitron  Bark. 

The  same  mordants  answer  for  quercitron  and  fus- 
tic as  for  weld.  Indeed  weld  is  nearly  discarded;  it  is 
dearer  in  the  first  instance  and  does  not  go  so  far  as 
quercitron;  of  which  from  one  to  two  pounds  per 
piece  are  enough  unless  for  blotch  grounds.  Twenty- 
five  pounds  of  good  quercitron  (Bancroft  says  eigh- 
teen)  will  dye  throughout  of  a full  colour,  one  hundred 
pounds  of  cloth.  Quercitron  and  fustic  do  not  stain 
the  grounds  so  much  as  weld,  nor  does  quercitron  re- 
quire so  much  heat.  Bancroft  advises  a little  barilla  to 
be  added  to  the  cow  dung  liquor,  about  two  ounces 
to  a piece  of  cloth:  he  says  that  one  pound  of  tartar 
to  fourteen  pounds  of  bark,  tends  to  keep  the  white 
clear. 

Sumach  is  added  to  the  quercitron,  when  colours 
are  to  be  saddened. 

When  galls  or  sumach  are  required  to  be  added  to 
raise  a black,  you  may  put  them  either  in  your  dung 
liquor  previous  to  dyeing,  or  into  the  bran  liquor  after- 
ward. No  accurate  experiments  have  been  made,  to 
ascertain  whether  the  affinity  of  the  colouring  matter 
of  galls  or  sumach  will  displace  the  colouring  matter 
of  the  weld  or  quercitron  or  fustic,  or  vice  versa. 

Of  Colours  to  be  raised  in  Weld  and  Madder  conjointly: 
or  in  Quercitron  and  Madder. 

Black.  Same  as  for  weld  or  madder:  already  given. 

Mud.  Same  as  for  weld  or  madder. 

Orange.  Sugar  of  lead  eight  pounds,  verdigris  se- 
ven ounces,  water  four  gallons,  chalk  six  ounces, 
alum  six  pounds. 


I 


357 

I 

I Dung,  wash,  and  raise  your  pieces  as  directed  for 
weld  colours,  with  weld  or  quercitron  alone:  about 
half  a bundle  of  weld  to  the  piece,  or  two  pounds  of 
quercitron.  Wash:  then  raise  the  colour  again  in  a 
madder  copper  of  about  two  pounds  of  madder  to  the 
piece  according  to  the  required  colour.  Bran  as  usual. 

I Colours  to  be  raised  in  IVeld  or  Quercitron  and  Log- 
, wood. 

Black,  as  for  weld. 

’ Mud  and  Stone.  The  same,  only  using  a less  pro- 
portion of  iron  liquor  or  black  colour,  owing  to  the 
deeper  dye  given  by  logw-ood. 

> Green.  One  gallon  of  lime  water,  six  ounces  of  ver- 
I digris,  four  ounces  of  alum,  two  ounces  sugar  of  lead, 

I half  an  ounce  of  finely  ground  indigo  dissolved  in  an 
ounce  measure  or  about  two  ounces  by  weight  of 
strong  oil  of  vitriol;  add  all  together  and  neutralize 
with  whiting.  Print  with  this,  and  raise  as  for  weld, 
adding  two  pounds  logwood. 

The  preceding  receipt  amounts  to  no  more,  than 
printing  with  a weak  red  mordant,  mixed  with  Saxon 
green  liquor.  The  Saxon  green,  or  solution  of  indigo 
in  sulphuric  acid,  strikes  a green,  while  the  acetat  of 
alumine  imperfectly  made,  and  combined  with  the 
verdigris,  affords  a mordant  for  the  yellow  and  the 
logwood.  It  is  not  a fast  colour.  I should  substitute 
the  following. 

Alum  two  parts  by  weight,  blue  copperas  one  part, 
sugar  of  lead  three  parts:  thicken  the  clear  liquor,  and 
dye  with  quercitron  and  logwood.  If  not  green  enough, 


358 


increase  the  relative  proportions  of  blue  vitriol  and 
logwood.  Either  the  one  colour  or  the  other,  will  be 
fugitive. 

Single  Blacks  to  be  raised  with  Logwood  and  Sumach. 

Iron  liquor  two  gallons,  nitrat  of  iron  half  a pint, 
verdigris  two  ounces;  grind  the  verdigris  well  pre- 
viously with  half  a pint  of  vinegar;  mix  all  together, 
and  set  them  over  the  fire  to  boil;  thicken  it  gradually 
with  about  three  pounds  of  flour,  well  stirred  in,  till  it 
be  quite  smooth:  after  about  twenty  minutes  take  it 
off"  the  fire;  put  it  into  an  earthen  mug  to  cool.  When 
cold,  take  off  the  skin  on  the  top,  and  use  the  mix- 
ture. 

To  raise  this  colour,  dung  as  usual;  then  wash;  then 
boil  in  a pound  and  a half  of  sumach,  and  a pound  of 
logwood,  per  piece.  Wash  and  bran  as  usual;  and 
bleach.  If  the  white  does  not  come  out  quite  clear, 
boil  again  in  bran  with  a small  quantity  of  white  soap, 
and  wash.  But  do  not  resort  to  soap  without  ne- 
cessity. 

Colours  to  be  raised  in  Lime  Water.,  and  Potash.' 

In  these  the  colour  is  neutralized  after  their  being 
applied  to  the  cloth:  in  chemical  colours,  they  are 
neutralized  before  they  are  applied.  They  are  much 
more  permanent  in  the  first  case. 

Black.  Vinegar  three  gallons;  galls  eight  pounds; 
boil  them  moderately  for  an  hour  and  a half;  add  to 
each  gallon  four  ounces  of  green  copperas  and  half  a 
pint  of  nitrat  of  iron.  (N.  B.  From  Dr.  Lewis’s  ex- 


359 


I periments  on  ink,  I am  induced  to  believe,  that  one 
I part  of  green  copperas  is  fully  saturated  by  four  parts 
i of  galls.) 

Mud.  Water  one  gallon;  galls  one  pound  and  a half; 
brazil  wood  the  same  quantity.  Boil  for  an  hour;  strain; 
then  add  four  ounces  of  green  copperas.  I think  the 
galls  here,  rather  in  over  proportion,  if  good. 

Stone.  One  quart  of  chemical  black  hereafter  to  be 
given,  omitting  the  nitrat  of  iron,  and  adding  one 
quart  water. 

Fawn.  One  pint  of  chemical  black,  mixed  with 
five  pints  of  pale  red  made  by  diluting  strong  red  co- 
lour (acetat  of  alumine)  with  four  parts  water.' 

Gold.  Iron  liquor  six  gallons;  green  copperas  nine 
pounds:  boil  for  twenty  minutes:  thicken  with  three 
pounds  gum,  or  three  pounds  and  a half  flour.  (Nitrat 
of  iron  produces  the  brightest  colour.) 

Buff.  Iron  liquor  six  gallons,  boiled  and  mixed 
with  two  gallons  strong  gum  w^ater,  and  well  stirred. 
(Better  mixed  with  a little  nitrat  of  iron.) 

Violet.  One  gallon  of  fresh,  strong  logwood  liquor, 
cold;  ground  alum  two  pounds;  the  same  quantity  of 
sugar  of  lead,  and  four  ounces  nitre.  Add  one  pint 
iron  liquor.  Thicken  with  gum  or  flour. 

This  last  colour  raised  in  madder  gives  a choco- 
late; with  weld,  an  olive. 

For  colours  that  after  being  thus  printed,  are  to  be 
raised  in  lime  and  potash,  proceed  thus.  Run  the 
printed  piece  soon  after  it  is  printed  (as  soon  as  it  is 
dry)  through  a tub  or  vat  of  cold  water,  in  which  from 
six  to  seven  pounds  of  potash  are  dissolved;  and  then 


360 


through  another  of  cold  water  containing  an  equal 
quantity  of  lime,  fresh  and  good:  they  should  be 
winced  in  each  vat  for  about  ten  minutes  or  even  less. 
Then  wash  them.  Or,  you  may  let  them  lay  in  water 
over  night,  and  then  wash  them  either  in  hot  or  cold 
water. 

Colours  to  be  raised  in  Lime^  Copperas,  and  Potash. 

China  Blue.  This  is  a species  of  indigo  dyeing, 
slightly  touched  upon  in  a former  part  of  this  book, 
under  the  section  relating  to  indigo  vats. 

Take  equal  quantities  of  indigo  and  copperas,  say 
one  pound  of  each;  grind  them  in  gum  water,  till  they 
become  a perfectly  fine  paste.  Let  the  gum  water  be 
about  two  quarts  in  all,  to  bring  the  colour  to  a pro- 
per consistence.  After  printing  the  cloth  with  this 
composition,  let  it  undergo  the  following  dippings. 

First,  for  a quarter  of  an  hour,  in  lime  water  com- 
posed of  two  pounds  of  fresh  lime  to  every  gallon  of 
water,  stirring  it  all  the  time. 

Secondly,  pass  the  cloth  through  a strong  copperas 
liquor  for  the  same  length  of  time;  employing  one 
pound  of  green  copperas  for  every  gallon  of  water, 
letting  the  sediment  subside  perfectly  before  you 
enter  your  cloth,  to  wince  it  therein.  If  the  copperas 
be  of  a light  green,  fresh  made,  and  not  covered  with 
rust  by  exposure  to  air,  there  will  be  little  sediment. 

Thirdly,  wince  your  cloth  through  a strong  solu- 
tion of  potash  in  which  an  egg  will  swim,  for  twenty 
minutes.  Then  plunge  it  into  cold  water,  and  wash  it 
thoroughly.  If  your  grounds  are  not  white  enough. 


361 


wince  it  in  a warm  weak  sulphuric  acid  liquor,  and 
then  wash  it  well  again  and  dry  it.  (N.  B.  This  pre- 
supposes paste  work,  or  reserve.) 

If  the  piece  should  be  spoiled,  which  sometimes 
happens,  the  colour  is  best  discharged  by  oxynauriatic 
acid  and  caustic  alkali  alternately.  The  piece  so  raised 
of  a blue  colour,  may  again  be  printed  of  any  other. 

Such  are  my  brief  notes  of  practice.  But  the  fol- 
lowing article  is  drawn  up  with  so  much  care  and 
knowledge  of  the  subject,  that  I think  it  well  worth 
inserting  from  the  new  edition  of  Rees’s  Cyclopae- 
dia, especially  as  that  work  so  far  as  it  is  hitherto 
published,  does  not  contain  more  than  two  or  three 
solitary  and  unconnected  articles  on  dyeing  and  print- 
ing. Article  Dipping. ' 

“ Dipping,  in  callicoc-printing,  a process  used  in  dyeing  blue, 
in  which  the  cloth  is  immersed  or  dipped  either  in  a solution  of 
indigo,  or  of  some  substance  capable  of  acting  on  indigo  previ- 
ously applied  to  the  cloth. 

“ The  peculiar  nature  of  indigo  unfits  it  for  the  purposes  of 
dyeing  by  the  ordinary  operations  of  the  art.  It  consists,  as  we 
shall  have  occasion  to  show  more  fully  hereafter,  of  a peculiar 
vegetable  basis  united  to  a portion  of  oxygen,  to  which  it  owes  its 
colour  and  insolubility.  When  deprived  of  this  oxygen,  by  sub- 
stances whose  affinity  for  it  are  greater,  it  becomes  soluble  in  the 
alkalies  and  alkaline  earths,  and  in  this  state  readily  contracts  an 
union  with  animal  or  vegetable  stuffs.  On  this  property  of  the  al- 
kalies to  dissolve  deoxygenated  indigo,  are  founded  two  processes 
for  dipping  or  dyeing  blue,  which  form  the  subject  of  the  pre- 
sent article.  The  first  consists  in  immersing  the  cloth  in  an  alka- 
line solution  of  indigo,  and  is  employed  in  dyeing  those  goods, 
the  ground  of  which  is  intended  for  blue  or  green.  The  parts 
meant  to  remain  white,  or  which  have  already  received  some 

2 Z 


/ 


I 


362 


other  colours,  being  covered  with  a reserve  or  paste,  to  protect 
them  from  the  effect  of  the  dye. 

“ This  process  is  very  ancient. 

“ The  second  is  employed  in  dyeing  those  goods  intended  to 
exhibit  a design  or  pattern  in  one  or  more  shades  of  blue,  upon  a 
white  ground,  and  is  called  “ China  blue,”  or  generally  upon  the 
continent,  English  blue,  the  process  having  originated  with  the 
callicoe-printers  of  this  country. 

“ From  time  immemorial  the  nations  of  the  east  appear  to  have 
possessed  a mode  of  dyeing  silk  handkerchiefs,  and  other  articles 
of  dress,  by  a rude  but  simple  process,  which  is  practised  at  this 
day,  and  has  been  adopted,  and  continues  in  use,  in  almost  every 
part  of  Europe.  It  consists  in  tying  knots  with  great  address  and 
nicety  on  the  silk  in  such  a manner,  that  when  dyed,  the  parts 
enclosed  within  the  knot  remain  untouched,  displaying  a ground 
of  red,  blue,  or  any  other  colour,  variously,  and  oftentimes  not 
inelegantly  diversified  with  flowers  of  whi,te  or  yellow,  according 
to  the  primitive  colour  of  the  silk.  This  mode  of  dyeing  hand- 
kerchiefs was  introduced  by  the  Saracens  into  Spain,  where  it  is 
now  practised  to  a very  considerable  extent.  This,  in  all  proba- 
bility, was  the  first  rude  essay  or  attempt  to  imitate  the  printed 
linens  of  Egypt,  and  was  succeeded  by  the  mode  now  practised 
in  India,  of  covering  with  a composition  of  wax  and  other  ingre- 
dients, the  parts  intended  to  remain  white.  Hence  we  may  date 
the  origin  of  blue  dipping,  and  though  the  process,  as  may  be 
supposed,  has  been  considerably  improved  since  its  introduction 
into  Europe,  yet  the  ancient  practice  is  still  in  use;  and  wax 
printing  is  often  employed  with  considerable  advantage  in  the 
production  of  particular  combinations  of  dark  and  light  blue, 
which  could  not  readily  be  obtained  by  any  other  process. 

“ Of  the  Indigo  Vat,  and  the  Process  of  common  blue  Dijifang. 

“ The  solution  of  indigo  for  blue  dipping,  is  made  in  large  ob- 
long vessels  of  wood,  stone,  or  other  materials,  to  which  the 
name  of  vats  is  given.  Those  which  are  made  of  wood  require  to 
be  very  accurately  joined,  and  well  secured  with  bolts  and  straps 
of  iron;  otherwise  great  loss  may  arise  from  the  constant  leak- 
age, to  which,  without  great  precaution,  they  are  subject.  In 
general  they  are  lined  with  lead,  and  though  the  expense  in  the 
first  instance  is  four  times  that  of  wood,  they  are  eventually  much 


363 


cheaper.  They  need  fewer  repairs,  and  afford  absolute  security 
against  all  loss  by  leakage,  which,  in  a drug  so  costly  as  indigo, 
is  a consideration  of  great  importance,  btoiie  vats  have  been 
tried  in  some  places.  At  Rouen,  according  to  Berthollet,  they 
are  constructed  of  a kind  of  flint-stone,  well  secured  both  outside 
and  inside  with  a fine  cement:  and  Pileur  d’Apligny  mentions 
some  he  had  seen  composed  of  large  stone  slabs  screwed  together 
at  the  corners,  and  the  joints  of  which  are  covered  with  a kind  of 
mastic  varnish.  Economy  is  the  chief  aim  in  all  these  various 
constructions,  as  it  matters  little  what  the  vat  is  composed  of, 
provided  it  will  hold  the  dye;  and  those,  in  fact  are  the  cheapest, 
whatever  they  have  cost,  that  suffer  the  least  to  escape. 

“The  size  of  the  vat  varies  considerably  in  different  dye- 
houses,  according  to  the  nature  and  extent  of  the  establishment, 
and  the  kind  of  work  they  are  intended  for.  Four  feet  wide,  six 
feet  long,  and  six  or  seven  feet  deep,  are  the  dimensions  of  a well- 
proportioned  vat,  calculated  for  two  pieces  of  callicoe  or  fifty-six 
yards  of  cloth  on  a frame.  Much  smaller  than  the  size  here  given 
are  in  use  for  frames  of  single  pieces,  and  vats  of  still  larger  di- 
mensions are  employed  by  some,  whose  work  and  cloth  require 
them  one  or  two  feet  deeper. 

“ The  vats  are  all  sunk  in  the  earth,  down  to  a level,  or  nearly 
so,  with  the  floor  of  the  dye-house.  In  some  few  old  establish- 
ments, they  stand  two  feet,  or  thereabouts,  above  the  floor,  as  is 
universally  the  case  on  the  continent.  In  this  case,  the  frames  are 
hoisted  in  and  out  by  a pulley  suspended  over  the  vat,  a most 
awkward  and  inconvenient  practice,  which  is  avoided  by  sinking 
them  to  the  level  of  the  floor.  The  frames  are  lifted  out  with 
ease  by  the  hand,  by  two  men  or  boys,  one  at  each  end,  and  in  a 
range  of  six  or  eight  vats,  the  frames  are  hoisted  out  and  re- 
entered in  half  the  time,  and  with  half  the  trouble  required  to 
manage  the  pullies. 

“ The  number  of  vats  necessary  in  a well  arranged  dye-house 
must  depend  greatly  on  the  nature  and  size  of  the  establishment. 
Eight  of  the  size  already  given,  ranged  in  one  line  side  by  side, 
form  a good  series;  double  or  treble  that  number  may  be  re- 
quired, but  with  fewer,  a dyer,  whose  quantity  of  work  is  limit- 
ed, yet  various,  will  find  much  inconvenience,  especially  when  by 
long  working  the  dregs  or  grounds  have  so  accumulated  as  to 
require  a repose  of  twenty-four  hours  at  least,  after  raking  up 


364 


before  the  vats  arc  fit  for  work  ; fjain.  It  is  on  this  account  that 
deep  vats  are  preferable  to  shallow  ones;  the  mud  subsides  in 
them  much  sooner,  and  they  require  cleaning  out  and  emptying 
less  frequently. 

“ The  n ture  of  the  indigo  vat  is  such,  that  the  indigo  is  re- 
vived and  precipitated  from  it  whenever  it  comes  in  contact  with 
the  air.  On  this  account,  it  is  impossible  to  dye  a piece  evenly  by 
wincing  or  working  it  in  the  dye  liquor,  as  in  other  colours  Those 
parts  of  the  piece  which  had  been  most  exposed,  and  on  which, 
of  course,  most  indigo  had  been  precipitated,  would  exhibit 
deeper  shades  than  those  which  had  been  less.  The  reserve,  or 
paste,  also,  for  white,  when  such  had  been  applied,  would  be 
disturbed  and  washed  off  by  the  usual  manipulations  of  dyeing. 

“ On  these  accounts  it  is  necessary  to  hook  the  pieces  on  a 
frame  in  such  a manner,  that  when  immersed  in  the  vat,  or  taken 
out,  the  folds  shall  not  touch  each  other.  The  frames  are  o^ 
wood,  the  length  and  width  nearly  of  the  vat,  and  of  a depth  suf- 
ficient for  the  width  of  the  goods.  The  horizontal  side-rails  at  the 
bottom  are  fixed,  and  form  the  base  of  the  frame,  and  are  fur- 
nished with  small  tenter  hooks  of  copper  an  inch  and  a half,  or 
two  inches  asunder,  to  which  the  edge  or  selvedge  of  the  piece  is 
attached.  The  upper  rails,  which  are  also  furnished  with  hooks, 
slide  in  a groove  cut  in  the  upright  or  corner  posts,  and  may  be 
adjusted  to  the  widtii  of  any  kind  of  cloth,  and  are  retained  in 
their  place  by  a peg  or  j)in.  The  piece  is  hooked  in  folds  from 
side  to  side,  and  so  evenly  and  tightly  stretched,  that  when  im- 
mersed in  the  vat  every  part  is  equally  and  alike  exposed  to  the 
dye,  and  no  one  fold  can  touch  another.  The  number  of  dips  is 
regulated  by  the  shade  of  blue  required,  and  when  finished,  the 
goods  are  taken  off  the  hooks  and  subjected  to  the  ordinary  ope- 
rations of  washing,  rincing,  &c.  &c.  The  solution  of  indigo,  which, 
as  well  as  the  vessel  that  contains  it,  is  generally  called  “blue 
vat”  by  the  dyers,  is  made  with  lime  and  copperas,  and  in  some 
cases  with  the  addition  of  a small  quantity  of  potash.  In  the  due 
proportion  of  all  the  ingredients  of  this  solution,  and  in  the  treat- 
ment of  the  vat,  both  during,  and  after  work  ng,  consist  the 
chief  an  of  “ blue  dipping,”  in  the  management  of  which,  how- 
ever, there  is  less  difficulty  than  in  any  other  branch  of  blue  dye- 
ing whatever.  The  theory  is  so  simple,  and  the  practice,  to  those 
acquainted  with  the  theory,  so  very  obvious,  that  with  common 
eare  and  observation  it  is  scarcely  possible,to  err. 


365 


“ Indigo,  as  we  have  just  before  observed,  is  insoluble  in  the 
alkalies  and  alkaline  eartns,  till  deprived  of  its  oxygen.  Copperas 
is  employed  for  this  purpose  in  the  vats  we  are  speaking  of,  and 
orpimem  in  others,  and  in  the  pencil  blue;  both  these  substances 
having  a stronger  affinity  for  oxygen  than  the  base  of  the  indigo. 
On  adding  together,  therefore,  indigo,  copperas,  and  lime,  in 
suitable  proportions,  the  lime  in  the  first  instance  decomposes 
the  copperas,  and  precipitates  from  it  the  oxyd  of  iron:  this  acts 
on  the  indigo,  deoxygenates  it,  and  renders  it  soluble  in  the  lime, 
which,  if  in  sufficient  quantity,  immediately  dissolves  it.  The 
oxyd  of  iron,  which  has  served  to  deprive  the  indigo  of  its  oxy- 
gen, the  sulphat  of  lime  formed  by  the  union  of  the  lime  with 
the  acid  of  the  copperas,  and  any  lime  in  excess  or  more  than 
necessary  to  effect  the  decomposition  of  the  copperas,  and  the 
solution  of  the  deox  igenated  indigo,  all  precipitate  toithe  bottom 
of  the  vat,  and  there  remains  in  soliuion  only  lime  ana  the  base 
of  indigo.  There  are  few  dyers  and  callicoe-prmters  who  do  not 
imagine  that  the  solution  of  indigo  consists  of  all  the  substances 
that  have  been  used  in  its  formation,  and  that  the  vat  actually 
holds  in  solution  indigo,  copperas,  and  lime.  They  are  not  aware 
that  solutions  of  these  tw'o  latter  substances  are  incompatible; 
they  cannot  exist  together,  qne  or  other  must  predominate,  as  a 
very  simple  experiment  will  show:  Mix  clear  lime  water  and 
copperas  water  together,  and  an  instant  precipitation  will  take 
place.  As  long  as  any  copperas  remains  in  solution,  every  suc- 
cessive addition  of  lime  water  will  cause  a fresh  precipitate, 
which  consists  of  oxyd  of  iron,  and  sulphat  of  lime,  formed  by  the 
union  of  the  lime  with  the  acid  of  the  copperas.  None  of  the  lime 
remains  in  solution.  The  precipitation  ceases  only  when  the 
whole  of  the  copperas  is  decomposed,  that  is,  when  there  is  no 
longer  any  acid  to  form  an  insoluble  salt  with  the  lime.  The  so- 
lution will  then  be  found  to  consist  of  lime  water  only.  To  those 
in  the  least  acquainted  with  the  principles  of  chemistry,  these 
observations  may  appear  minute  and  trifling,  but  to  those  igno- 
rant of  these  simple  facts  (and  the  majority  of  those  interested 
in  the  subject  of  the  present  article  are  ignorant  of  them,)  the 
constitution  of  the  blue  vat  must  be  wholly  unknown,  and  its 
management,  of  course,  exposed  to  all  those  chances  of  failure 
and  derangement  which  must  necessarily  attend  even  long  ex- 


366 


perience,  wheft  unaccompanied  with  clear  and  accurate  ideas  of 
the  nature  and  properties  of  the  dilferent  substances  employed. 

“ The  proportions  of  indigo,  copperas,  and  lime,  necessary  to 
form  a blue  vat,  depend  both  on  the  quality  of  the  indigo,  and  on 
the  strength  of  the  solution  required.  The  quality  of  indigo 
varies  greatly;  some  kinds,  as  the  fine  Spanish  and  East  India, 
containing  twice,  and  even  thrice,  as  much  colouring  matter  as 
the  coarser  kinds.  In  general  from  two  to  five  pounds  of  good 
indigo  to  every  hundred  gallons  of  water,  are  sufficient  to  form 
vats  tor  most  purposes.  They  are  sometimes,  but  rarely,  required 
stronger;  forty  pounds  in  a vat  holding  eight  hundred  gallons, 
will  produce  a solution  of  sufficient  intensity  to  give  a black 
nearly,  at  four  or  five  immersions. 

“ The  finer  the  quality  of  the  indigo,  the  greater  the  pro- 
portion ofitepperas  and  lime,  necessary  to  effect  its  solution.  In 
general,  however,  one  of  indigo,  two  of  copperas,  and  two  of  lime, 
are  considered  as  the  best  proportions,  and  as  such  they  arc  given 
by  Berthollet,  who,  to  profound  chemical  science,  unites  consi- 
derable practical  knowledge,  and  the  best  information  concerning 
the  processes  of  the  dyers  and  callicoe-printers  of  France. 

“ The  indigo  is  previously  ground  in  a mill  with  water,  till  it 
is  reduced  to  a smooth  paste  of  the  consistence  of  cream.  In  its 
ordinary  state  of  aggregation,  it  is  scarcely,  if  at  all,  attacked  by 
copperas  and  lime;  all  therefore  that  has  escaped  the  action  of 
the  mill,  and  is  put  into  the  vat  in  a lumpy  or  imperfectly  ground 
state,  may  be  considered  as  totally  lost.  Every  precaution  there- 
fore should  be  employed  to  guard  against  this,  and  when  by 
rubbing  it  between  the  fingers,  or  on  a pane  of  glass,  it  appears 
fine  and  smooth,  and  free  from  small,  hard,  gritty  particles,  it 
may  be  removed  from  the  mill,  mixed  up  with  four  or  five  times 
its  bulk  of  water,  and  poured  through  a fine  sieve  into  the  vat. 
Any  lumps  whiclr  may  have  escaped  grinding  are  thus  retained, 
and  may  be  returned  into  the  mill  with  fresh  indigo. 

“ The  vat  having  received  its  charge  of  indigo,  and  been  filled 
up  with  clean  water,  the  copperas  is  next  added.  It  is  best  and 
most  speedily  dissolved  by  suspending  it  in  a wicker  basket  at 
the  surface  of  the  vat;  it  is  sometimes  thrown  in,  and  will,  in  that 
case,  when  it  is  in  large  lumps,  oftentimes  lie  undissolved  at  the 
bottom  oft  the  vat  for  weeks,  in  spile  of  frequent  and  even  daily 
stirring.  When  the  whole  is  dissolved,  the  lime  is  added,  and  the 


367 


I vat  well  raked  up,  till  all  its  contents  are  intimately  mixed,  the 
i lime  dissolved,  and  the  copperas  decomposed.  The  action  of  oxyd 
of  iron  upon  indigo  requires  time,  and  also  repose;  after  the  first 
raking,  which  should  be  continued  during  half  an  hour  at  least, 
it  is  best  to  suffer  the  vat  to  remain  two  or  three  hours  undis- 
turbed; the  indigo  and  oxyd  of  iron  fall  down  to  the  bottom,  and 
' are  thus  brought  more  within  the  sphere  of  chemical  action,  than 
when  floating  in  the  whole  mass  of  water  in  tlie  vat. 

“ The  choice  of  copperas  is  not  a matter  of  indifference,  as  on 
its  peculiar  state  depends  its  fitness  or  not  for  deoxygenating  in- 
digo. Sulphat  of  iron  exists  in  two  states  dependent  on  the  quan- 
tity of  oxygen  combined  with  its  oxyd.  At  its  minimum  of  oxyda- 
tion,  it  forms  a green  solution,  and  when  crystallized,  a green 
salt,  the  green  vitriol,  or  copperas  of  commerce;  at  its  maximum, 
or  second  state  of  oxydation,  it  forms  an  orange-coloured,  un- 
crystallizable  solution  possessing  very  different  properties  from 
the  former.. 

“ The  green  solution  is  distinguished  by  its  great  avidity  for 
oxygen,  and  its  disposition  to  pass  to  the  orange,  or  fully  oxy- 
genated state.  It  is  this  affinity  for  oxygen  that  fits  it  for  the  so- 
lution of  indigo.  The  copperas  of  commerce  is  however  not  un- 
frequently  a mixture  of  the  two  salts  or  oxyds,  a portion  of  it 
either  having  acquired  oxygen,  whilst  in  a state  of  solution  before 
crystallization,  or  more  frequently  perhaps  by  too  great  exposure 
to  the  air  afterwards. 

[ “ In  this  latter  case  its  surface  is  covered  with  a reddish  orange 

► rust,  and  a portion  of  the  salt  is  rendered  useless  for  the  blue  vat 
! having  already  acquired  its  maximum  of  oxygen.  The  chief  dif- 
ference in  the  quality  of  copperas,  is  however  in  the  more  or  less 
perfect  saturation  of  the  acid,  forming  two  distinct  salts,  which 
were  known  and  distinguished  by  manufacturers  long  before 
chemists  were  acquainted  with  their  existence.  The  first,  and 
least  esteemed,  is  a pale  emerald  green,  and  contains  a great 
excess  of  acid;  the  other,  which  is  more  fully  saturated  with  iron, 
is  a deep  full  green,  and  is  universally  preferred,  especially  for 
indigo  and  China  blue  vats.  Some  callicoe-printers  imagine  that 
the  reddish  coloured  copperas  is  the  best,  or,  as  they  say,  the 
strongest,  a prejudice  which  the  manufacturer  very  easily  ac- 
commodates, by  sprinkling  a little  fine  sifted  quick  lime  over  the 
surface,  which  soon  covers  it  with  a coat  of  orange  rust. 


I 

j 


368 


“ The  lime  used  for  the  indigo  vat  should  be  quick.  Fallen 
lime,  when  not  too  old,  and  too  long  exposed  to  the  air,  is  the 
best.  It  should  be  well  sifted,  and  freed  from  stones  and  lumps. 

“ After  two  or  three  hours  repose,  the  vat  should  be  again  well 
raked.  It  will  now  exhibit  signs  of  incipient  solution;  instead  of 
black,  it  will  appear  of  a dark  bottle  green,  and  the  surface  will 
break  into  marbled  veins  of  blue.  These  appearances  will  increase 
each  time  the  vat  is  raked,  which  should  be  three  or  four  times 
a day  during  two  days.  At  each  time  the  colour  of  the  vat  will 
brighten,  and  get  paler,  the  marbled  or  veined  appearance  be- 
come more  marked  and  strong,  and  when  the  solution  is  com- 
plete, and  ready  for  working,  the  colour,  when  raked  up,  will  be 
a yellowish  green.  After  a repose  of  ten  or  twelve  hours,  to  allow  ' 
the  dregs  time  to  subside,  the  vat  is  ready  for  work. 

“ It  is  the  practice  of  some  dyers  to  add  potash  in  equal  quan- 
tity with  indigo  to  the  vat.  The  only  advantage  arising  from  this, 
is  greater  concentration  of  the  solution  than  can  be  obtained  by 
lime  alone;  but  this  is  seldom  required,  and  never,  indeed,  for 
the  purposes  of  callicoe-prinling;  on  the  other  hand,  if  potash  be 
added  to  a vat  containing  little  indigo,  and  calculated  only  for  the 
paler  shades  of  blue,  the  colour  it  will  produce  is  less  intense, 
than  when  lime  alone  is  used,  and  the  hue  not  at  all  improved. 

“ It  was  formerly  the  practice  to  grind  the  indigo  with  a solu-  ' 

tion  of  caustic  potash,  and  boil  it  in  a strong  ley.  before  adding  | 

lime  and  copperas,  and  pouring  it  into  the  vat.  A great  deal  of 
trouble,  and  no  advantage  whatever  attends  this  process,  which  is 
now  universally  discarded,  except  by  those  who  regard  all  im- 
provements as  innovations. 

“ Of  the  management  of  the  vats  both  during  work  and  after, 
we  shall  have  occasion  to  speak  whilst  treating  of  particular  kinds 
of  work;  which,  after  the  preceding  general  view  of  the  nature  of 
the  processes,  and  the  mode  of  preparing  the  indigo  vats,  we 
shall  now  proceed  to. 

“ Of  dark  Blue  ground,  and  white. 

“ Dark  blue  grounds,  with  spots  or  figures  of  white,  were  i 

amongst  the  first  attempts  at  callicoe-printing  in  the  East,  and  i 

were  produced,  as  we  have  before  remarked,  first,  by  tying  ; 

knots  on  the  part  intended  to  remain  white,  and  afterwards  by 

covering  them  with  a composition  of  wax.  This  process  was  sub- 


369 


I ject  to  great  inconveniencies,  arising  from  the  unmanageable  na- 
ture of  the  composition,  which  required  keeping  fluid  by  heat 
during  the  time  it  was  applied,  and  could  only  be  used  in  certain 
plain  figures,  such  as  round  spots,  ovals.  See.  The  designs  were 
of  course  rude  and  similar,  little  variety  being  practicable  where 
lines,  stalks,  leaves,  or  any  object  more  figured  than  a spot  or 
oval,  could  not  be  obtained. 

“ At  what  time  the  paste  or  reserve  now  in  general  use  was  in- 
troduced, is  not  known;  we  are  indebted  for  it  to  the  continent, 
from  whence,  indeed,  our  first  knowledge  of  callicoe-printing  was 
derived.  Though  the  formulae  for  this  paste  differ  much,  every 
blue  dyer  almost,  preparing  it  in  a mode  peculiar  to  himself,  yet 
they  are  all  essentially  the  same,  a solution  of  copper  of  one  kind 
or  another  being  the  principal  ingredient. 

“ If  a solution  of  sulphat,  acetat,  nitrat,  or  indeed  any  soluble 
salt  of  copper,  properly  thickened  for  printing,  be  applied  to 
clotji.  and  when  dry,  immersed  in  the  blue  vat,  the  part  so  cover- 
ed will  resist  the  action  of  the  dye,  and  remain  white.  This  does 
not  arise  from  the  mere  mechanical  resistance  of  the  paste,  which 
prevents  the  solution  of  indigo  from  entering  the  fibres  of  the 
cloth,  but  from  the  chemical  action  of  the  oxyd  of  copper,  which 
imparting  oxygen  to  the  indigo,  restores  it  to  its  former  blue 
state,  in  which  it  possesses  neither  solubility  in  lime,  nor  disposi- 
tion to  unite  with  the  cloth.  This  effect  of  the  oxyd  of  copper 
may  be  rendered  very  apparent,  by  pouring  a solution  of  it  into 
a solution  of  indigo,  which  is  generally  of  a yellowish  green,  or 
when  viewed  by  transmitted  light,  of  the  colour  of  small  beer. 
The  instant  the  two  solutions  are  mixed,  the  indigo  is  revived, 
and  precipitated  in  its  original  blue  state,  having  acquired  from 
the  copper  that  principle  of  which  it  had  been  deprived  by  the 
solution  of  sulphat  of  iron.  Every  paste,  or  reserve,  therefore,  for 
dark  blue  grounds,  must  necessarily  contain  oxyd  of  copper;  we 
give  the  following  formulae  as  most  approved  of  any  in  use. 

I.  To  1 gallon  of  water  add, 

4 lbs.  of  sulphat  of  copper, 

12  lbs.  of  pipe  clay. 

Boil  the  w hole  up  into  a thick  paste,  strain  through  a cloth,  and 
add  to  it  half  a pint  of  sulphuric  acid,  and  five  pints  of  thick  gum 
water.  Mix  all  well  together,  and  strain  again  before  printing. 

3 A 


370 


II.  To  1 pjallon  of  vinegar  add, 

1|-  lbs.  of  verdigris, 

3 lbs.  of  sulphatof  copper. 

Dissolve  them  over  the  fire,  and  thicken  with  12  lbs.  of  pipe  clay, 
finely  ground. 

“ If  the  paste  is  not  fine  and  smooth,  run  it  through  the  mill, 
and  add  to  it,  whilst  hot,  8 ounces  of  linseed  oil,  and  two  quarts 
of  thick  gum  water;  strain  it  carefully  through  a cloth  before 
printing. 

III.  To  1 gallon  of  water  add, 

2 lbs.  of  verdigris, 

3 lbs.  of  sulphat  of  copper, 

3 lbs.  of  nitrous  acid, 

15  lbs.  of  pipe  clay. 

Boil  them  well  in  a copper  pan,  and,  if  hecessary,  grind  them 
smooth,  and  add  three  quarts  of  thick  gum  water.  Strain  the 
whole  very  well  before’ printing. 

“ The  first  of  these  formulae  contains  sulphat  of  copper  only, 
the  solubility  of  which  is  increased  by  the  addition  of  a little  sul- 
phuric acid,  which  prevents  the  crystallization  of  the  paste.  The 
second,  which  is  stronger,  contains  also  acetat  of  copper,  and  the 
third,  in  addition  to  both  these  salts,  contains  a portion  of  nitrat 
of  copper  formed  by  the  action  of  the  nitrous  acid  on  the  verdi- 
gris. This  is  a very  powerful  paste,  and  capable  of  resisting  the 
vat  a long  time,  and  forming  a white  upon  a ground  nearly  black. 

“ The  pipe  clay  used  in  thickening,  is  not  merely  useful  in 
giving  due  consistence  and  body  to  the  paste,  so  as  to  render  it 
easily  workable,  but  is  very  efficacious  in  resisting  the  dye;  the 
same  solution,  thickened  with  gum  only,  will  scarcely  bear  three 
immersions,  but  with  the  allowance  of  pipe  clay  here  directed, 
will  stand  ten  or  twelve.  No  more  gum,  indeed,  should  be  added 
than  is  just  sufficient  to  break  the  adhesive  nature  of  the  pipe 
clay,  and  prevent  its  clogging  up  the  print  or  block. 

“ In  working  this  paste,  the  mall  or  mallet  should  be  used  verjr 
lightly,  or  not  at  all,  if  the  pattern  will  admit  of  it.  A gentle  tap 
with  the  hand,  so  as  to  leave  the  paste  wholly  on  the  surface  of 
the  cloth,  will  produce  the  best  work. 

« The  cloth  may  be  dipped  an  hour  or  two  after  printing,  if  re- 
quired, but  the  whites  are  seldom  so  good  as  when  kept  three  or 
four  days.  The  paste  gets  hard  and  firm,  part  of  the  acid  evapo- 


371 


rates,  and  the  solution  of  copper  becomes  more  intimately  incor- 
porated with  the  cloih. 

“ Dark  blues,  in  general,  require  from  five  to  ten  dips,  or  im- 
mersions, according  the  shade  of  blue  required,  or  the  strength 
of  the  vats  employed. 

“ If  the  vats  are  strong,  five,  or  at  most  six  dips,  will  give  a very 
dark  blue,  almost  black,  the  intensity  of  which  will  be  little  in- 
creased by  further  dipping;  the  labour  is  greatly  abridged  by  em- 
ploying strong  vats,  but  the  whites  are  liable  to  great  injury,  as 
the  solution  of  indigo,  when  concentrated,  acts  very  powerfully 
on  the  paste.  On  this  account  the  first  vat  should  invariably  be 
the  weakest  of  the  series,  and  never  stronger  than  is  sufficient  to 
produce  a full  strong  blue  at  seven,  or  even  eight  immersions. 
The  second  and  third  vats  may  be  stronger,  and  so  on  to  the  last, 
which  may  be  the  strongest  of  all.  Dark  blues  may  be  dipped  and 
finished  in  the  same  vat,  but  it  is  more  convenient  to  pass  them 
in  succession  through  a series  disposed  in  a line  in  the  manner 
we  have  before  described. 

“ When  the  piece  is  well  hooked,  and  the  frame  ready,  the 
vat  must  be  well  skimmed  before  the  piece  is  entered.  The  sur- 
face of  the  blue  vat  is  always  covered  with  a film  of  revived  indi- 
go, more  or  less  thick,  according  to  the  strength  of  the  vat.  This 
film  it  is  necessary  to  remove  before  the  frame  is  immersed, 
otherwise  the  revived  indigo,  which  is  no  longer  in  solution,  at- 
taches itself,  and  adheres  to  the  cloth  in  patches,  producing  un- 
evenness in  the  dye,  especially  in  the  first  vat.  When  skimmed, 
the  surface  of  the  vat  is  dark  green,  but  the  blue  film  reappears 
in  a few  minutes;  it  should  not  be  removed,  therefore,  till  the 
frame  is  ready  for  immersion. 

“ In  five  or  six  minutes  the  cloth  has  fully  imbibed  the  dye,  and 
little  advantage  is  gained  in  general  by  keeping  it  longer  in  the 
vat.  The  frame  is  then  lifted  out,  and  placed  slantwise  in  such  a 
manner,  that  all  the  liquor  which  drains  from  the  piece  falls  down 
into  the  vat  again.  When  taken  out,  the  cloth  appears  of  a pale 
yellowish  green,  if  the  vat  is  weak,  but  if  strong,  more  inclining 
to  amber.  This  colour  gradually  changes,  as  the  indigo,  by  ab- 
sorbing oxygen  from  the  atmosphere,  becomes  revived,  and  in 
five  minutes  the  cloth  appears  uniformly  blue;  it  is  then  ready  for 
another  immersion.  Six  minutes  zw,  and  six  minutes  out,  is  a good 
general  rule  for  dipping  dark  blues,  as  the  cloth  will  in  that  time 


372 


have  acquired  the  full  effect  of  the  vat,  and  the  green  will  also  go 
o/f  in  litt  le  more  than  five  minutes,  though  the  vat  be  very  strong. 
The  bottom  edge  of  the  piece  retains  the  green  hue  the  longest, 
because  it  is  longest  in  draining  from  the  liquor;  care  must  be 
taken,  therefore,  never  to  immerse  a piece  till  the  bottom  edge 
has  beeii  examined,  and  found  perfectly  ready  for  the  dip.  The 
consequence  of  entering  a piece  into  the  vat  whilst  the  bottom 
edge  is  green,  is,  as  might  be  supposed,  that  the  edge  will  be  the 
palest,  the  indigo  not  having  been  revived  and  precipitated  upon 
it  equally  with  the  rest  of  the  piece. 

“ In  dipping  dark  blues,  the  first  dip  is  the  most  important; 
and  if  it  fails,  the  work  is  inevitably  ruined,  first,  if  the  vat  be  too 
strong,  the  whites  will  never  be  clear  and  sharp;  secondly,  if  for 
want  of  due  preparation  the  cloth  does  not  uniformly  receive  the 
dye,  the  goods  will  scarcely  ever  be  even  when  finished.  I'hirdly, 
if  either  from  the  paste  being  too  strong,  or  the  vat  too  weak,  or 
not  in  proper  order,  the  impression  starts,  or  runs  at  the  first  im- 
mersion, the  ground  is  sure  to  be  freckled  and  uneven,  and  the 
whites  bad. 

“ Against  the  first  source  of  error,  the  knowledge  of  the  fact 
ought  to  be  a sufficient  guard;  but  if  unavoidably  it  should  hap- 
pen  that  the  leading  vat  is  too  strong,  there  is  no  other  remedy 
than  shortening  the  time  of  the  dip,  and  keeping  the  frame  in 
four  or  five  minutes  in  lieu  of  six,  till  the  vat  becomes  reduced 
in  strength. 

“ Imperfect  bleaching,  accidental  impurity  in  the  cloth,  and 
long  and  partial  exposure  to  heat  and  air,  are  amongst  the  causes 
which  contribute  n.ost  to  prevent  the  cloth  from  receiving  the 
blue  dye. 

“ It  is  the  practice  with  many  printers  to  give  the  cloth  in- 
tended for  this  purpose  an  extra  preparation,  either  by  boiling  in 
a ley  of  potash,  or  a solution  of  common  salt.  If  the  regular 
bleaching  has 'been  perfect,  the  first  is  wholly  unnecessary,  and 
the  second  absolutely  useless. 

“ Cloth  that  has  been  well  bleached  may,  by  long  keeping,  and 
partial  exposure  to  the  air,  dust,  and  other  accidental  impurities, 
become  so  unfit  for  dipping,  as  to  require  some  extra  prepara- 
tion. In  this  case  the  modes  we  have  spoken  of  may  be  useful 
inasmuch  as  washing,  soaking  in  hot  water,  squeezing,  and  the 
other  attendant  operations  are  useful;  but  clean,  well  bleached, 


373 


and  recently  bleached  cloth  has  no  need  of  any  such  prepara- 
tion. 

“ If  the  paste  be  too  strong,  that  is,  if  it  contains  too  much  sul- 
phat,  acetat,  or  nitrat  of  copper,  it  is  liable  to  start  or  run  in  the 
first  vat,  especially  when  laid  on  in  large  bodies.  This  evil,  if  not 
too  great,  may  be  remedied  by  gently  moving  the  frame  up  and 
flown  during  the  first  two  or  three  minutes  after  it  is  entered.  It 
may  also  arise  from  the  vat  being  too  weak,  and  consequently 
containing  too  little  lime  in  solution,  and  may  sometimes  be 
remedied  by  the  addition  of  more  lime.  If  in  spite,  however,  of 
the  motion  of  the  frame,  the  addition  of  more  lime,  or  of  greater 
strength  to  the  vat,  the  paste  still  continues  to  nm,  it  is  a sign 
the  solution  of  copper  is  too  strong,  and  the  quantity  must  im- 
mediately be  diminished. 

“ When  the  green  is  gone  off  after  the  first  dip,  the  frame  is 
then  moved  on,  and  dipped  in  the  second  vat,  taking  care  to  skim 
it  well  before  the  piece  is  entered.  In  this  way,  alter  each  im- 
mersion, the  frame  is  moved  on  to  I he  next  succeeding  vat,  till  it 
has  received  the  number  of  dips  required.  This,  as  we  have  before 
observed,  depends  on  the  strength  of  the  vat,  and  the  shade  of 
blue  wanted;  but  as,  during  the  process  of  dipping,  the  vats  con- 
tinually get  weaker,  the  goods,  after  a certain  time,  will  require 
an  additional  immersion,  or  even  two  or  three,  to  get  them  up  to 
the  strength  of  the  first  pieces  that  were  entered. 

“ The  strength  of  a blue  vat  is  not  exhausted  in  the  same 
manner  as  the  weld  or  madder  bath,  by  the  abstraction  of  the  co- 
louring matter  from  the  solution,  by  the  superior  affinity  of  the 
mordant  on  the  stuff.  When  a piece  of  cloth  is  immersed  in  the 
indigo  vat,  it  becomes  penetrated  in  five  or  six  minutes  com- 
pletely with  the  dye,  and  will  gain  nothing,  by  being  suffered  to 
remain  longer  than  is  necessary  for  this  purpose.  When  taken 
out,  it  carries  with  it  no  more  indigo  than  is  contained  in  that 
quantity  of  solution  which  it  has  imbibed,  and  carries  out  of  the 
vat.  But  the  instant  the  frame  is  lifted  out,  the  liquor  begins  to 
drain  from  it  back  again  into  the  vat,  and  pours  down  in  small 
streams,  thus  exposing  the  solution  completely  to  the  atmosphe- 
ric air.  The  indigo  is  in  consequence  revived  and  precipitated,  so- 
that  the  liquor  which  drains  from  the  piece  and  falls  down  into 
the  vat,  is  for  the  purpose  of  dyeing,  no  better  than  so  much 
water.  Every  frame  that  is  entered  thus  eflecting  the  precipita- 


1 


^ 374 

tion  of  the  colouring  matter  from  two,  three,  or  four  gallons  of 
the  solution;  the  vat,  especially  the  leading  one,  soon  becomes  re- 
duced in  strength.  The  second,  third,  and  successive  vats,  are 
weakened  in  the  same  manner,  and  also  by  the  exhausted  liquor 
of  the  pieces,  which  at  every  dip  after  the  first,  is  exchanged,  as 
it  were,  for  the  fresh  and  strong  solution  of  the  vat  it  is  im- 
mersed in. 

“When  the  goods  have  received  the  last  dip,  and  have  ac- 
quired their  full  shade  of  colour,  they  are  taken  off  the  hooks,  and 
well  winced  in  clean  water;  they  are  then,  by  the  successive  ope- 
rations of  washing  and  hot  watering,  repeated  as  occasion  may 
require,  freed  from  the  paste,  and  rendered  as  clean  as  possible 
before  going  into  the  sours. 

“ Souring  is  necessary  to  free  them  from  the  last  remains  of 
the  paste,  and  give  a brightness  and  finish  to  the  whites.  A so- 
lution of  sulphuric  acid,  weak  enough  to  be  borne  in  the  mouth 
without  inconvenience,  is  sufficient  to  dissolve  what  oxyd  of  cop- 
per is  left  in  the  cloth  after  good  cleaning.  The  goods  are  im- 
mersed in  this  ten  or  fifteen  minutes,  after  which  they  are  well 
washed  and  hot  watered,  and  when  dry  are  finished,  or  ready  for 
any  succeeding  operations.  The  excellence  of  this  kind  of  work 
depends  on  the  clearness  and  purity  of  the  white,  and  on  the 
fulness  and  evenness  of  the  blue.  The  directions  we  have  given 
are,  with  ordinary  care  and  observation,  sufficient  for  the  attain- 
ment of  this. 

When  the  vats  have  become  exhausted  by  working,  they  must 
be  refreshed.  If  a vat  contains  a tolerable  charge  of  indigo,  cop- 
peras, and  lime,  and  has  been  worked  only  once,  raking  up  alone 
will  be  sufficient  to  put  it  in  a state  for  working  again.  When 
again  exhausted,  copperas  and  lime  must  be  added  to  dissolve 
the  revived  indigo.  The  quantity  must  depend  upon  the  size  of 
the  vat,  and  the  supposed  ejuantity  of  indigo  which  it  contains. 
From  twenty  to  forty  pounds  of  copperas,  and  three-fourths  of 
that  quantity  of  quick  lime,  may  be  added  at  once  to  a vat  of  one 
thousand  gallons,  or  thereabouts,  and  some  idea  may  be  formed 
of  the  effect  which  this  should  produce,  by  recollecting  that  one 
pound  of  indigo  requires  for  solution  about  two  pounds  of  sul- 
phat  of  iron.  It  is  proper  always  to  have  an  excess  of  quick  lime 
in  the  vat,  but  it  is  wholiy  unnecessary  to  make  those  frequent 
additions  of  lime  without  any  thing  else,  which  is  the  practice  of 


375 


many  blue  dyers.  It  serves  no  other  purpose  than  to  fill  the  vat 
speedily  with  dregs,  which  ought  to  be  avoided  as  much  as  pos- 
sible, as  when  they  are  accumulated  to  a certain  pitch,  it  is  ne- 
cessary either  to  take  them  out,  or  suffer  the  vat  to  repose  from 
thirty-six  to  forty-eight  hours  before  it  is  fit  for  work  after 
raking. 

‘‘  If  equal  quantities  of  copperas  and  lime  have  been  used  when 
the  vat  was  formed  at  first,  and  three  parts  lime  added  for  every 
four  of  copperas  afterwards,  any  other  addition  of  lime  is  wholly 
useless.  Some  idea  may  be  formed  of  the  state  and  condition  of 
a vat,  by  observing  its  appearance  when  raked  up.  In  general,  if 
it  looks  dark  green  or  black,  it  may  be  presumed  it  contains  a 
quantity  of  revived  or  undissolved  indigo,  and  copperas  and  lime 
are  therefore  necessary;  this  blackish  appearance  may  neverthe- 
less be  occasioned  by  a very  great  excess  of  copperas,  or  sulphat 
of  iron,  the  oxyd  of  which,  when  recently  precipitated  by  lime,  is 
dark  green;  as  this,  however,  could  arise  only  through  great 
ignorance,  or  accident,  it  is  not  often  likely  to  be  the  case,  as  the 
quantity  of  copperas  required  to  produce  this  effect  must  be 
very  great  indeed. 

“When  a vat  rakes  up  yellow,  or  very  pale  yellowish  green, 
it  is  supposed  by  some  to  contain  too  much  copperas,  and  must 
be  corrected  by  the  addition  of  more  lime.  It  is  hardly  correct,  as 
we  have  before  observed,  to  say  a vat  contains  an  excess  of  cop- 
peras, since  this  salt  cannot  exist  in  solution  with  lime.  A vat 
may  want  lime,  and  in  this  case  it  will  be  very  weak,  of  a pale 
yellowish  green,  produce  a very  feeble  blue,  and  the  paste  will 
invariably  cree/),  to  use  the  dyers’  phrase,  or  in  other  words,  will 
run,  and  loose  the  sharpness  and  smartness  of  the  impression,  the 
moment  it  is  entered  in  the  vat.  This  may  be  the  case  at  the  time 
the  vat  contains  a quantity  of  revived  indigo  also,  and  rakes  up 
black,  so  that  no  certain  conclusion  can  be  drawn  from  the  yel- 
lowish appearance  aforesaid. 

“ If  a vat  be  weak,  the  froth  which  forms  at  the  top  during 
raking,  is  pale  sky  blue;  the  surface  does  not  speedily  break  into 
marble  veins,  nor  is  it  soon  covered  with  a blue  film.  A strong 
well  conditioned  vat,  on  the  contrary,  when  raked  up,  becomes 
eovered  directly  with  a permanent  and  copious  froth,  the  colour 
®f  which  varies  from  a deep  blue,  when  the  vat  is  of  ordinary 
strength,  to  a bright  copper  colour,  which  is  always  characteris- 

/ 


376 


■ 7 


•i 


lie  oi’  a very  strong  solution,  and  the  surface,  when  skimmed,  is 
in  an  instant  covered  with  a thick  film  of  revived  indigo.  This 
film,  and  the  deep  blue  and  copper  coloured  froth,  is  the  best  and 
purest  of  the  indigo,  and  is  called  the  Jlonver  of  the  indigo  by  the 
old  dyers.  In  skimming,  great  care  must  be  taken  that  this  is 
carefully  preserved,  and  returned  again  into  the  vats  at  the  time 
they  are  refreshed. 

“ When  a vat  becomes  so  exhausted  that  further  additions  of 
lime  and  copperas  have  no  effect  in  increasing  the  strength,  fresh 
indigo  must  be  added,  with  the  proportions  of  lime  and  copperas 
before  indicated. 

“ If  a vat  remains  several  weeks  unworked  and  without  raking, 
it  will  absorb  oxygen  enough  from  the  air  to  precipitate  the  indi- 
go from  the  solution,  so  that,  to  the  depth  of  ten  or  twelve  inches 
from  the  surface,  it  will  consist  of  lime-water  only,  and  must  be 
well  raked  up  before  it  is  worked. 

“ When  the  dregs  have  accumulated  so  much  as  to  prevent 
the  vat  from  clearing  in  twenty-four,  or  at  most  thirty-six  hours, 
and  when  the  frame  begins  to  touch  the  mud  during  work,  it  is 
time  then  to  empty  it  out,  taking  care  to  dose  the  vat  well  with 
lime  and  copperas,  so  as  to  get  out  all  the  indigo  before  the  dregs 
are  thrown  aw'ay  as  exhausted. 

“ Of  Pale  Blue. 

“ Pale  blues  are,  in  general,  produced  at  a single  dip;  they  re- 
quire less  indigo  and  labour  than  the  preceding  style  of  work, 
but  more  care  and  management  to  do  them  well.  They  are  liable 
to  be  uneven  and  spotted  in  the  ground,  and  the  proper  tone  and 
shade  of  colour  is  a matter  of  great  importance,  and  also  of  no 
small  difficulty. 

“ We  shall  speak  first  of  pale  blues  and  whites,  intended  to  be 
finished  up  with  after-colours  or  not. — 'fhe  paste  for  pale  blue  is 
precisely  similar  to  that  fur  the  dark  blue  we  have  been  treating 
of,  except  that  it  need  not  be  so  strong.  Two  pounds  of  sulphat  of 
copper,  dissolved  in  a gallon  of  water,  and  thickened  with  pipe- 
clay and  gum,  in  the  manner  of  the  three  pastes  we  have  already 
given,  will  form  a very  good  reserve  for  pale  blue.  Any  other 
solution  of  copper  will  be  equally  efficacious,  but  the  sulphat,  as 
being  the  cheapest,  may  be  considered  as  the  best. 

“The  preparation,  oi-  ruuier  liie  conuiuoii  of  the  cloth,  is  a 


377 


matter  of  the  greatest  importance  in  pale  blue  clipping.  If  im- 
perfectly bleached,' or  stained  or  impregnated  with  any  earthy  or 
metallic  substance  that  will  obstruct  the  entrance  of  the  dye,  the 
blue  will  infallibly  be  uneven.  A difference  in  the  quality  of  the 
cotton,  in  the  fineness  of  the  weft,  or  in  the  hardness  of  the  twist, 
of  which  the  cloth  is  made,  will  occasion  considerable  variation 
in  the  shade  of  blue,  and  defeat  every  attempt,  on  the  part  of  the 
workman,  to  do  justice  to  his  work.  To  guard  as  much  as  possi- 
ble against  this,  the  cloth,  in  the  first  place,  should  be  selected 
purposely,  rejecting  all  those  pieces  which  show  unevenness  in 
weaving,  or  variation  in  the  quality  of  the  materials. 

“ The  goods  should  be  in  the  best  possible  state  for  printing; 
fresh  from  the  bleach  ground,  carefully  kept  from  dust  or  dirt  of 
any  kind,  and  sufficiently  damp  to  make  them  take  a stiff  calen- 
dering. As  soon  after  printing  as  convenient,  they  should  be  re- 
moved from  the  warm  shop  to  a cool  situation,  where  they  will 
not  get  parched  and  dry,  and  dipped  at  furthest  the  following 
day. 

“ All  these  precautions,  however,  are  inadequate  to  secure  an 
even  and  level  ground,  without  recourse  to  the  improved  me- 
thod of  dipping,  for  which  we  are  indebted  to  the  callicoe-printers 
of  London. 

“ This  improvement,  whether  considered  with  reference  to  the 
particular  style  of  work,  of  which  we  are  now  treating,  or  its  ap- 
plication to  other  branches  of  blue  dyeing,  the  most  important 
that  has  lately  been  introduced,  consists  in  dipping  the  goods  in 
clear  lime-water  before  they  are  entered  in  the  blue  vat. 

“ If  the  piece  becomes  uniformly  wet  throughout,  and  shows 
no  streaks  or  patches  of  white,  it  may  safely  be  transferred  to  the 
blue  vat  as  a piece  that  will  take  an  even  dye.  If,  however,  after 
remaining  five  or  six  minutes  in  the  lime  vat,  there  are  parts 
which  are  not  completely  wet,  it  must  be  dipped  five  or  six 
minutes  longer,  and  again  taken  out  and  examined.  All  those 
pieces  which,  after  two,  or,  at  most,  three  immersions,  still  re- 
fuse admission  to  the  lime-water,  are  rejected  as  unfit  for  dipping, 
and  the  paste  being  removed  by  souring,  are  appropriatecf  to 
some  other  course  of  work  to  which  they  are  better  adapted. 

“ The  vat  for  pale  blues  is,  in  general,  the  same  as  for  the  dark 
grounds,  care  being  taken  to  select  one  that  will  give  the  shade 
of  blue  required.  It  is  usual  to  employ  the  old  and  nearly  ex- 

3 B 


378 


hausted  vats  for  this  purpose,  but  the  blue  is  never  so  bright  and 
lively  as  when  fresh  indigo,  and  that  of  the  finest  quality,  is  em- 
ployed. 

“ The  hue  is  greatly  improved  by  souring,  a necessary  opera- 
tion, to  free  the  goods  from  the  paste,  and  still  further,  by  winch- 
ing them  in  a solution  of  white  soap  ten  or  fifteen  minutes,  at  a 
heat  of  120  degrees. 

“ Mr.  Haussman  observes,  that  if  the  goods  are  plunged  in  a 
weak  solution  of  sulphuric  acid  immediately  on  coming  out  of 
the  vat,  the  blue  is  more  lively  and  full  than  when  previously 
rinced  and  washed. 

“ Mr.  Chaptal  employs  for  pale  blue  grounds  without  white, 
and  for  green  grounds  also,  a vat  composed  of  indigo,  potash, 
lime,  and  orpiment.  This  solution,  wliich  is  the  same  precisely 
as  the  pencil-blue  of  the  callicoe-printers,  affords  a much  more 
delicate  colour  than  that  with  lime  and  copperas,  the  cause  of 
which  is  not  clearly  understood,  though  it  most  probably  arises 
from  the  different  degrees  of  deoxydalibn  produced  by  the  two 
^ substances. 

“ This  vat  is  formed  by  boiling  ten  pounds  of  fine  Spanish  in- 
digo, ten  pounds  of  potash,  twenty  pounds  of  quick-lime,  and 
five  pounds  of  orange  orpiment,  in  about  thirty  gallons  of  water, 
and  pouring  it,  when  the  solution  is  complete,  into  the  vat  con- 
taining about  eight  hundred  gallons  of  water,  and  twenty  or 
thirty  pounds  of  lime.  When  worked,  i^  must  be  raked  up  well 
the  instant  before  the  frame  is  entered,  and  when  exhausted,  re- 
freshed with  additions  of  the  same  solution. 

“ If  a piece  of  cloth,  printed  with  the  reserve  or  paste  before 
described,  be  dipped  in  this  vat,  the  copper  becomes  precipitated 
and  fixed  by  the  sulphuretted  hydrogen  which  it  contains,  and 
produces  a brown  stain  instead  of  a white.  It  is  possible,  how- 
ever, with  extraordinary  care  and  management,  to  succeed  in  ob- 
taining good  whites  in  this  vat,  and  the  following  process  may  be 
employed  with  success,  though  it  is  still  capable  of  further  im- 
provement. 

“ Prepare  a paste  by  dissolving  two  pounds  of  sulphat  of  cop- 
per in  one  gallon  of  acetat  of  alumine,  or  the  common  aluminous 
mordant  of  the  callicoe-printers,  add  to  it  one  pound  of  nitrous 
acid,  and  eight  pounds  of  pipe-clay;  boil  well  and  strain  it  through 
a fine  cloth,  and  when  cold,  add  as  much  thick  gum-water  as  is 


379 


I barely  necessary  to  give  it  the  due  degree  of  consistence  ior 
& working.  In  printing  this  paste  the  mallet  should  never  be  used, 
1.  a gentle  tap  with  the  hand,  if  the  block  is  true  and  in  good  order, 
p will  leave  the  paste,  as  it  should  be,  wholly  on  the  surface  of  the 
I j cloth.  Dip  six  or  eight  minutes  in  the  lime  vat,  and  when  taken 
out,  suffer  the  piece  to  diain  two  or  three  minutes  before  enter- 
I ' ing  in  the  blue  vat.  The  vat  should  be  strong  enough  to  pro- 
I i duce  the  shade  required  in  two  minutes,  after  which  the  frame 
' should  be  withdrawn  and  plunged  ipstantly  in  a vat  of  clear 
I water,  and  moved  and  agitated  therein  till  the  green  goes  off. 
When  washed  and  soured,  if  the  work  has  succeeded,  the  white 
will  be  clear  and  prominent,  and  the  blue  the  finest  that  can  be 
produced  on  cloth.  It  is  remarkable,  that  a strong  vat  produces 
better  whites  than  a weak  one,  on  this  account  care  must  be 
taken,  that  the  solution  be  of  a proper  strength.  The  utmost 
■ nicety  is  required  in  preserving  the  cloth  for  this  vat  from  dust 
or  dirt  of  any  kind.  Goods  that  have  been  long  bleached,  and  not 
j carefully  secluded  from  the  air,  are  wholly  unfit.  They  ought,  in 
: fact,  to  be  taken  fresh  from  the  sours,  for  every,  even  the 

' smallest  paTticle  of  metallic- substance  that  is  in  the  cloth,  when 
j dipped  in  this  vat,  will  produce  a brown  stain,  and  if  the  cloth  is 
\ uniformly  tainted  with  it,  entirely  ruin  the  blue, 
r “ In  dipping  pale  blue  grounds,  it  is  sometimes  necessary  to 
I protect  colours  that  have  been  previously  applied,  from  the  effect 
'[  of  the'  blue,  as  red  or  yellow  flowers  for  example,  which  would 
’ otherwise  become  purple  and  green.  The  solutions  of  copper 
j cannot  be  employed  for  this  purpose,  as  they  injure  the  colours, 
i especially  madder  reds,  or  purples,  very  much,  and  are  not 
wholly  removed  without  souring,  an  operation  which  goods  of 
this  description  cannot  be  subjected  to. 

“ The  reserve  most  commonly  used,  is  simply  a paste  of  pipe- 
clay or  Spanish  white,  boiled  to  a proper  consistence,  and  mixed 
with  an  equal  quantity  of  thick  gum-water.  This  does  not  affect 
the  colours  upon  which  it  is  applied,  and  is  easily  removed  by  hot 
water  and  washing;  but  as  it  opposes  merely  a mechanical  re- 
sistance to  the  dye,  and  fails  the  moment  it  becomes  softened,  it 
will  not  bear  a dip  of  more  than  one  minute  or  two.  This  is  an 
inconvenience  of  great  magnitude,  when  the  pale  blue  ground  is 
much  exposed,  and  not  covered  with  any  kind  of  design  calcu- 
lated to  hide  unevenness  in  the  dye.  The  following  paste  is  re- 


380 


commended  and  used,  by  some,  as  capable  of  resisting  much 
longer  than  the  former:— 

One  pound  of  finely  ground  pipe-clay, 

Four  ounces  of  gum  arable, 

Two  ounces  of  suet. 

Two  ounces  of  wax,  and 
One  ounce  of  resin. 

Boil  all  these  ingredients  together,  in  as  much  water  as  will  form 
a paste  of  sufficient  consistence  not  to  run.  This  paste  can  only 
be  applied  with  the  pencil,  and  in  large  masses.  It  is  removed 
with  great  ease  by  hot  water  and  washing,  without  any  injury  to 
the  reds,  or  other  colours  it  has  covered. 

“ The  solutions  of  lead  possess  the  property,  though  in  a much 
smaller  degree  than  copper,  of  resisting  the  indigo  vat,  and  may 
be  used  with  advantage  for  pasting  reds  and  other  colours,  which 
are  but  little  injured  by  them.  We  have  seen  the  following  paste 
used  with  great  success: — 

“ Dissolve  two  pounds  of  acetat  of  lead  in  a gallon  of  water,  add 
two  ounces  of  tallow,  two  of  wax,  and  two  of  resin,  and  as  much 
pipe-clay  and  gum  as  will  make  it  of  a proper  thickness  for 
printing  or  pencilling.  This  paste  will  resist  a dip  of  three  or 
or  four  minutes;  it  must,  however,  be  laid  on  in  good  bodies,  and 
/ succeeds  better  with  the  pencil  than  block. 

“ In  pale  blue  grounds,  with  black  and  white  figures,  8cc.  it  is 
often  necessary  to  print  both  the  black  and  the  paste  at  the  same 
time,  to  save  the  expense  and  trouble  of  after-grounding.  The 
black  for  this  purpose  is  generally  chemical  black,  for  an  ac- 
count of  which  we  must  refer  to  the  article  Colov v.-making.  The 
sulphat  of  copper  paste  is  generally  used,  but  as  the  goods  can- 
not, on  account  of  the  black,  be  passed  through  the  sours  to  free 
them  from  the  oxyd  of  copper,  which  imparts  a greenish  hue  to 
the  white,  it  is  better  to  employ  the  nitrat  of  copper,  which  is 
cleared  by  hot  watering  and  washing  much  more  completely. 

“ If  the  patterns  contain  very  large  masses  or  bodies  of  black, 
the  acetat  of  iron,  or  what  the  printers  call  black  colour,  must  be 
used,  increasing  the  strength  to  double  that  required  for  an  or- 
dinary black;  so  that  when  the  goods  are  dipped,  and  as  well 
cleaned  as  possible,  by  repeated  washing.  See.  they  may  be 
passed  through  water  rendered  slightly  acidulous  with  nitrous, 


381 


or  what  is  still  better,  acetous  acid,  without  materially  impairinij 
the  strength  of  the  mordant. 

“ The  white  is  completely  freed  from  the  oxyd  of  copper  by 
this  slight  souring,  and  takes  no  stain  in  the  dye  copper,  when 
the  black  is  raised  with  sumach  and  logwood. 

It  is  proper  to  observe,  that  the  goods,  before  souring,  should 
be  completely  freed  from  all  superfluous  paste,  either  of  the 
black  or  white;  and  the  iron,  by  repeated  hot  watering,  at  a tem- 
perature of  l40®,  oxygenated  as  highly  as  possible.  In  this  state 
it  is  scarcely  soluble,  either  in  nitrous  or  acetous  acids,  and  will 
bear  weak  solutions  of  them  fifteen  or  twenty  minutes. 

“ Of  Resisting  Mordants. 

When  a pale  blue  is  intended  to  exhibit  other  colours  on  the 
ground,  as  red,  pink,  yellow,  orange,  &c.  the  paste  or  reserve  is 
often  mixed  with  a mordant  capable  of  producing  these  colours 
in  the  dye  copper. 

“ The  common  paste  alone  will  produce  a yellow  with  weld, 
quercitron  bark,  fustic,  &c.  if  the  piece  be  simply  rinced  and 
washed  before  dyeing. 

“ In  this  case  the  oxyd  of  copper  which  remains  in  the  cloth 
attracts  the  colouring  matter,  and  though  it  is  greatly  inferior  as 
a mordant,  to  the  acetat  of  alumine,  yet,  with  care  and  manage- 
ment, it  is  capable  of  producing,  with  weld,  a pale  and  beautiful 
yellow.  The  only  difficulty  consists  in  getting  the  colour  even, 
and  this  is  best  attained  by  employing  those  solutions  of  copper 
^ which  are  most  soluble,  and  using  them  somewhat  stronger  than 
is  merely  necessary  to  resist  the  vat. 

“ When  dipped,  the  goods  should  be  well  rinced  in  the  river 
fifteen  or  twenty  minutes,  and  afterwards  rinced  off  in  a copper 
of  warm  water,  with  a shovelful  of  cow  dung.  Too  much  dung,  or 
too  great  heat,  will  injure  the  yellow;  the  temperature  should  not 
exceed  100°,  and  after  wincing  again  in  the  river,  they  should 
be  dyed  at  a heat  considerably  below  this,  if  weld  is  used,  and 
not  exceeding  seventy-five  or  eighty  if  dyed  with  bark. 

“ Oxyd  of  copper,  when  dyed  at  a high  temperature,  invariably 
becomes  dull,  especially  when  bark  or  sumach  are  employed. 
With  weld  there  is  less  risk  of  injuring  the  brightness  of  the 
yellow,  but  long  continued  heat  impairs  it  greatly. 

“ This  mordant  does  not  at  all  answer  for  reds;- with  madder 


382 


it  aftbrds  a dull  wine-coloured  dye,  and  with  brazil,  peachwood, 
and  cochineal,  dull,  heavy  colours,  more  inclining  to  pompadour 
or  chocolate  than  red.  When  mixed,  even  in  small  proportions, 
with  the  common  aluminous  mordant,  its  effects  are  very  visible, 
when  dyed  with  any  of  the  above-mentioned  drugs. 

“ It  is  nevertheless  employed  for  deep  full  reds,  upon  pale 
blue  ground,  according  to  the  following  formula,  which  is  ex- 
cellent for  a yellow  or  orange:-— 

“ Dissolve  two  pounds  of  acetat  of  lead,  and  two  and  a half 
pounds  of  alum,  in  a gallon  of  water;  pour  off  the  solution  from 
the  precipitate,  and  add  eight  ounces  of  sulphat  of  copper; 
thicken  with  one  pound  and  a half  of  starch,  and  four  pounds  of 
fine  pipe-clay.  When  cool,  strain  the  paste  through  a cloth  or 
sieve,  and  give  the  goods  six  days  age  before  dipping.  Dip  three 
minutes  in  a well-conditioned  vat,  and  transfer  the  frame  from 
thence  instantly  to  the  water-vat — Rince  off,  and  prepare  for 
dyeing  in  the  same  manner  as  before  directed. 

“ The  following  formula  is  in  use  for  resisting  reds  or  yellows: 
Dissolve  in  one  gallon  of  warm  water  three  and  a half  pounds 
of  acetat  of  lead,  and  five  pounds  of  alum;  thicken  it  (with  the 
precipitate  in)  with  the  best  Senegal  gum,  and  add  two  ounces 
of  white  arsenic,  ground  as  fine  as  flour;  four  ounces  of  common 
salt,  and  four  ounces  of  corrosive  sublimate.  Give  the  goods  two 
or  three  days  age  before  dipping,  and  keep  them  from  three  to 
five  minutes  in  a good  vat,  or  less,  if  you  can  get  the  shade  of 
blue  required.  Plunge  them  in  the  water-vat  the  instant  they  are 
taken  up,  and  rince  and  finish  as  before. 

“ Bark  or  weld  drabs  and  olives,  as  they  do  not  so  soon  show 
any  slight  tinge  of  blue  which  may  have  penetrated  the  paste, 
i may  be  simply  thickened  with  good  starch,  and  from  twelve  to 
sixteen  ounces  of  suet  per  gallon,  to  enable  them  the  better  to 
resist  the  vat.  If  this  should  not  suffice,  from  two  to  four  ounces 
of  sulphat  of  copper  may  be  added,  but  it  must  be  observed,  that 
this  will  change  the  hue  of  the  drab,  and  make  it  more  an  olive. 
A little  pipe-clay,  not  more  than  two  pounds  per  gallon,  may  be 
employed  also  with  advantage.  It  is  very  efficacious  in  keeping 
out  the  dye,  and,  in  so  small  a quantity,  will  not  materially  affect 
the  fullness  and  evenness  of  the  mordant. 

“ Solutions  of  ti^miore  especially  the  nitro-muriatic,  are  em- 
ployed by  some  callicoe-printers,  in  conjunction  with  the  alu- 


383 


minous  mordant,  for  resisting  reds  and  yellows.  They  are  not 
very  powerful  in  keeping  out  the  blue,  and,  with  madder,  afford 
but  feeble  colours:  the  yellow  they  produce  is  bright,  but  pale. 

“ In  general,  those  solutions  which  are  most  efficacious  in  re- 
sisting the  vat,  are  the  worst  mordants,  as  those  of  copper  for 
example;  but  as  they  will  bear  a long  dip,  and  the  evenness  of 
the  blue  is  thereby  ensured,  this  advantage,  in  one  colour,  is  con- 
sidered as  sufficient  compensation  for  want  of  brilliancy  in  the 
other.  The  common  aluminous  mordant,  thickened  with  gum 
and  a little  pipe-clay,  or  with  starch  and  pipe-clay,  forms  in- 
finitely the  best  mordant,  and  will  resist  the  vat  a few  seconds, 
but  not  sufficiently  long  to  make  the  work  secure.  The  recent 
improvement  in  this  kind  of  dipping,  however,  by  the  use  of 
warm  vats,  has  removed  a great  many  difficulties,  and  enabled 
some  callicoe-printers  to  produce  work  of  very  superior  merit. 

“ The  great  and  the  only  advantage  attending  warm  vats,  is 
the  celerity  with  which  the  dye  penetrates  the  cloth;  so  that  all 
the  effect  of  a six  minutes’  dip  in  a cold  vat,  may,  in  a warm  one, 
be  obtained  in  the  same  number  of  seconds.  The  frame,  in  fact, 
is  plunged  in  only  for  a moment,  and  instantly  taken  up;  and,  in 
this  short  space,  the  vat,  however  strong,  has  not  time  to  pene- 
trate the  paste  or  mordant. 

“ The  vats  may  be  variously  heated,  as  best  suits  the  nature 
of  the  establishment.  Steam  affords  the  most  easy  and  efficacious 
means,  and  may  either  be  thrown  into  the  vat  through  a pipe  and 
valves,  in  which  case  the  steam  itself  is  condensed  in,  and  mingles 
with  the  solution  of  indigo,  or  the  vat  may  be  in  part  surrounded 
with  a casing,  into  which  the  steam  may  be  admitted,  and  give 
out  its  heat,  without  filling  the  vat  with  condensed  water. 

“ The  first  is  the  simplest  and  most  economical  mode;  but  it 
requires  certain  precautions  which  the  other  does  not.  In  the  first 
place,  before  the  steam  is  admitted  into  it,  the  boiler  should  be 
blown,  that  is,  completely  emptied  of  air;  for  if  it  passes  along 
with  the  steam  into  a vat,  the  indigo  will  be  revived,  and  preci- 
pitated from  the  solution,  and  the  vat  rendered  unfit  for  dipping. 
In  the  second  place,  if  the  vat,  when  cold,.is  only  of  the  proper 
strength,  the  admission  of  so  much  steam,  and  consequently  of 
condensed  water,  as  will  be  necessary  to  raise  it  to  the  tempera- 
ture required,  will  weaken  it  considerably;  lastly,  some  in- 
convenience may  arise  from  this  great  ttCiJ'  mulation  of  con- 


■334 


densccl  water,  unless  due  allowance  be  made  before  it  is  admitted, 
and  care  be  taken  never  to  turn  it  in  when  the  vat  is  full. 

“ The  second  mode  is  subject  to  none  of  these  inconveniencies. 
The  vat  can  neither  be  weakened  by  air  from  the  boiler,  nor  by 
condensed  water,  since  the  heat  is  transmitted  wholly  through  the 
casing.  The  expense,  however,  is  very  considerable;  still  it  is 
greatly  preferable  to  the  plan  which  some  printers  have  adopt- 
ed, of  constructing  cast  iron  vats,  and  heating  them  by  furnaces 
built  underneath. 

“ The  temperature  at  which  they  can  be  employed,  varies  ac- 
cording to  the  kind  of  work,  and  the  power  which  the  paste  pos- 
sesses of  resisting  a hot  vat. 

“From  60  to  80°  will  be  sufficient  for  most  purposes,  and  a vat 
of  tolerable  strength  will,  at  the  latter  temperature,  produce  a 
good  blue  in  ten  or  fifteen  seconds. 

“ Of  coloured  Paste. 

“ By  mixing  both  colouring  matter  and  mordant  with  the  re- 
serve, we  obtain  pastes  which  at  the  same  time  communicate 
colour  to  the  cloth,  and  resist  the  blue;  not  only  saving  the  ne- 
cessity of  dyeing,  but  enabling  us  to  form  combinations  of  co- 
lours, incompatible  by  any  other  process.  This  branch  of  blue 
dipping  is  still  in  its  infancy,  and  little  has  yet  been  done  towards 
its  perfection.  We  shall  therefore  have  little  else  to  do  in  treat- 
ing of  this  part  of  our  subject,  but  to  state  the  few  facts  on  which 
it  is  founded,  and  suggest  some  hints  for  its  future  improve- 
ment. 

“ If  a solution  of  sulphat  or  acetat  of  iron  be  mixed  with  the 
reserve  or  paste  for  white,  it  will,  when  dipped  and  rinced  off, 
leave  a buff  or  orange  stain,  not  very  strong,  indeed,  nor  always 
very  even;  but  applicable  and  useful  in  some  cases.  This  paste 
has  been  long  known  and  employed. 

“ If  instead  of  acetat  of  iron  a strong  decoction  of  bark,  or 
French  or  Turkey  berries,  be  mixed  with  the  reserve,  a yellow 
will  be  obtained,  full,  but  less  bright,  than  when  raised  in  the 
W'eld  copper. 

“ Thus  by  combining  different  colouring  matters  with  the 
mordants  proper  for  fixing  them  on  cloth,  and  also  with  sub- 
stances which  have  the  property  of  resisting  the  blue  dye,  various 
coloured  pastes  will  be  obtained. 


385 


“ The  solutions  of  tin,  from  their  forming  combinations  with 
most  colouring  substances  which  are  but  little  affected  by  acids, 
seem  likely  to  be  of  considerable  use  in  the  composition  of  pastes 
of  this  description.  The  muriat  of  tin  destroys  the  resisting 
power  of  solutions  of  copper  by  de-oxygenating  them;  but  the 
nitro-muriat,  or  highly  oxygenated  solutions,  produce  rather  a 
contrary  effect;  they  are  these  which  should  therefore  be  tried. 

“ Of  China  Blue. 

“ The  process  for  China  blue  dipping  consists  in  applying 
finely  ground  indigo,  in  its  crude  and  undissolved  state,  upon  the 
cloth,  and  fixing  it  by  alternate  immersions  in  solutions  of  sul- 
phat  of  iron  and  lime. 

“ The  same  thing  takes  place  upon  the  cloth,  that  is  effected 
in  the  ordinary  blue  vat  when  indigo  is  dissolved;  in  both  cases 
the  indigo  is  de-oxygenated,  and  prepared  for  solution  by  the 
copperas,  and  afterwards  dissolved  by  the  lime. 

“ The  different  shades  of  colour  in  China  blue  dipping  are 
produced  by  reducing,  more  or  less,  the  standard  colour,  which 
is  prepared  in  the  following  manner. 

“ 1st.  Grind  in  a metal  pot  with  balls,  or  by  any  other  con- 
trivance, ten  pounds  of  good  indigo,  eight  pounds  of  good  cop- 
peras, and  five  pounds  of  orpiment,  with  two  gallons  of  water; 
when  the  whole  is  nearly  ground,  add  two  quarts  of  very  thick 
solution  of  gum  Senegal,  and  grind  a few  hours  longer. 

“ 2d.  Prepare  a solution  of  sulphat  of  iron  by  dissolving  two 
pounds  in  a gallon  of  water,  adding  a quarter  of  an  ounce  of  pot- 
ashes, and  suffering  the  precipitate,  if  there  is  any,  to  subside. 
Reduce  the  ground  blue  (No.  1)  with  as  much  of  this  clear  so- 
lution (No.  2)  as  will  bring  it  to  a proper  consistence  for  work- 
ing, and  print  with  this  for  the  dark  full  blue.  When  dipped,  this 
colour  will  have  nearly  the  effect  of  black,  especially  in  small 
bodies. 

“ For  pale  blue,  reduce  the  standard  with  ten,  fifteen,  or  twenty 
measures  of  the  solution  of  copperas,  and  an  equal  quantity  of 
acetat  of  iron,  or  common  iron  liquor  thickened  with  gum.  With 
fifty,  sixty,  or  even  ninety  measures  of  sulphat  and  acetat  of  iron, 
one  measure  of  the  standard  blue  will  give  very  good  shades  of 
pale  blue.  When  the  pattern,  whether  1‘lock  or  plate,  will  not 
work  in  gum,  a portion  of  the  acetat  of  iron  must  be  thickened 

3 C 


386 


with  starch,  or  flour,  and  ground  up  in  the  mill  with  its  due  pro- 
poi  ion  of  the  standard.  When  worked  on  plates,  wooden  doc- 
tors, especially  lime  tree,  are  preferred  to  steel  ones;  they  clean 
the  plate  much  better,  and  give  a fine  neat  impression. 

“The  vats  are  of  the  same  form,  and  generally  of  the  same 
dimensions,  as  those  before  described;  they  are,  however,  never 
lined  with  lead;  wood,  or  stone,  being  considered  sufficiently  se- 
cure for  solutions  of  little  value,  con. pared  with  those  of  indigo. 
They  are  disposed  in  a line,  a copperas  val  and  a lime  vat  alter- 
nately; or  when  the  mode  of  dipping  allows  it,  a lime  vat  be- 
tween two  copperas  vats,  forming  a system  in  which  two  frames 
are  worked;  the  lime  vat  being  thus  kept  constantly  employed, 
the  copperas  vats  only  alternately.  The  copperas  vats  are  made 
up  of  dififerent  strengths,  according  to  the  work  intended  to  be 
done;  strong  thick  goods,  such  as  Marseilles  quilting,  &c.  require 
stronger  vats  than  callicoes  and  muslins.  The  first  require  the 
solution  to  be  of  spec,  gravity  1040,  the  latter  about  1030.  These 
are  the  most  economical  points,  but  good  work  may  be  done  at 
any  point  between  1025  and  1050.  Lower  than  1025,  the  colour 
will  be  pale  and  faint,  though  even;  and  higher  than  1050-  it  is 
liable  to  be  uneven,  some  parts  being  very  deep  and  full,  and 
others  nieally  and  spoiled. 

“ The  lime  vats  are  set  with  fine  sifted  quick  lime,  recently 
slacked,  in  the  proportion  of  one  hundred  and  fifty  pounds  to  one 
thousand  gallons  of  water. 

“ When  the  pieces  are  hooked,  and  properly  arranged  on  the 
frame,  they  are  entered  first  into  the  lime,  and  the  dipping  pro- 
ceeds as  follows. 

1.  Entry  in  the  lime  vat  5 minutes. 


2. 

in  copperas  vat 

30 

3. 

in  lime  vat 

10 

4. 

in  copperas  vat 

30 

5. 

in  lime  vat 

20 

6. 

in  copperas  val 

45 

7. 

in  lime  vat 

45 

“ During  the  first  five  minutes  in  the  lime,  the  frame  must  be 
gently  rocked,  or  moved  up  and  down,  then  drawn  up  and 
tightened.  The  vat,  both  now,  and  at  every  subsequent  dip,  is 
well  raked  up  before  the  frame  is  entered.  When  entered  in  the 


387 


copperas  vat,  rock  five  or  six  times,  to  detach  the  loose  lime 
from  the  piece. 

“ At  the  second  entry  in  the  lime,  rock  the  whole  time. 

“ At  the  second,  and  every  succeeding  entry  in  the  copperas 
vat,  rock  five  or  six  times  as  before,  to  detach  the  lime. 

“ At  the  third  and  fourth  entry  in  the  lime,  rock  five  or  six 
minutes,  and  now  and  then. 

“ The  reason  for  finishing  out  of  the  lime,  is  to  keep  the  frames 
and  hooks  free  from  the  rust  and  incrustation  of  the  copperas, 
which  it  loosens,  and  renders  more  easy  to  detach  and  clean; 
with  respect  to  raising  the  colour,  it  makes  no  difference  what- 
ever. 

“ When  the  piece  comes  from  the  copperas  vat  the  second 
time  into  the  lime,  it  will  appear  a grass  green  colour,  if  there  be 
. a proper  quantity  of  lime  in  the  vat.  If  too  little,  the  piece  will 
appear  yellowish,  and  more  lime  must  be  added. 

“ Take  off  the  pieces  quickly  after  the  last  dip,  and  wince  them 
briskly  in  the  water-pit  a minute  or  two  at  the  most.  Get  them 
into  the  sours,  and  after  wincing  over  twice  or  tlirice,  let  them 
lie  an  hour  or  two,  after  which  wince  again  four  or  five  times, 
find  wash  well  in  the  wheel.  Hot  water  them,  and  wheel  again  be- 
fore hot  souring,  which  is  done  in  a sour  of  spec,  gravity  1015, 
heated  to  180°.  Wince  the  goods  four  or  five  minutes  in  this, 
after  which  wash,  hot  water,  &c.  and  finish  for  drying. 

“ If  the  goods  are  kept  too  long  out  of  tiie  cold  sour  after  the 
last  dip,  the  oxyd  of  iron,  with  which  they  are  coated,  oxygenates 
very  rapidly,  and  the  cloth  becomes  buff  or  orange.  It  is  with 
difficulty  that  the  iion  is  disengaged,  and  not  without  long  and 
very  strong  hot  souring. 

» “ The  cold  sours  soon  become  foul  with  the  loose  superfluous 

indigo,  which  is  detached,  and  unfits  them  for  light  goods,  long 
before  the  acid  is  saturated. 

“ In  this  case  it  is  economical  to  add  two  or  three  shovels  full 
of  fine  well-beaten  clay,  previously  mixed  up  with  water;  when 
this  is  well  incorporated  with  the  sours,  and  suffered  to  subside, 
it  carries  down  with  it  great  part  of  the  floating  indigo,  and 
renders  them  fit  for  use  again. 

“ After  every  day’s  work  the  lime  and  copperas  vats  must  be 
refreshed. 

“ From  twenty-five  to  thirty-five  pounds  of  sifted  lime,  accord- 


V 


383 


ing  to  the  size  o*"  the  vat,  and  the  number  of  pieces  that  have 
been  passed  through  it,  must  be  addefl  every  night. 

“ No  harm  can  arise  from  excess  of  lime,  ejtcepting  the  un- 
necessary expense  of  more  than  is  required,  and  the  accumula- 
tion of  sediment  or  mud  in  the  vat,  which  will  soon  require  re- 
moving. 

“Ten  pounds  of  copperas  are  generally  added  for  every  piece 
of  callicoe  that  is  dipped.  This  is  suspended  at  the  surface  in  a 
wicker  basket,  and  sufl'ered  to  remain  till  all  is  dissolved.  It  is 
quite  unnecessary  to  rake  up  the  vat,  as  the  fresh  additions  of 
copperas  will  incorporate  uniformly  without  stirring,  which,  by 
muddying  the  vati  may  do  mischief.  Care  must  be  taken  to  use 
the  hydrometer  frequently  to  correct  any  deficiency  or  excess 
which  may  arise  in  the  sp.  gr.  of  the  solution  of  sulphat  of  iron. 

“ In  making  new  or  fresh  copperas  vats,  after  having  brought 
them  to  the  standard  on  the  hydrometer,  add  to  every  thousand 
gallons  four  or  five  gallons  of  the  lime  vat  (raked  up)  and  one 
pound  of  potash.  This  is  to  neutralize  the  superabundant  acid  of 
the  copperas. 

“ The  grass  green  Yorkshire  copperas  is  the  best  for  this  pur- 
pose, it  contains  the  least  free  acid;  the  pale  whitish  green  is  the 
Avorst,  and  when  such  is  used  it  will  be  proper  occasionally  to 
throw  into  the  vat  about  one  pound  of  potash,  and  four  or  rive 
gallons  of  miiddy  lime  water. 

“ When  daily  worked  the  lime  vats  should  be  emptied  out,  and 
wholly  renewed  once  a month  at  least. 

“ The  copperas  vats  are  never  wholly  emptied,  but  when  the 
mud  accumulates  so  as  to  be  troublesome  and  endanger  the  safety 
of  the  work  by  resting  on  the  lower  edge  of  the  piece,  it  must  be 
taken  out  with  a scoop  or  shovel  proper  for  the  purpose.  , 

“ The  ground  of  those  goods  which  show  much  white  will  in 
general  be  sufficiently  clear  when  finished  according  to  the  pre- 
ceding directions,  the  white  is  however  greatly  improved  by  a 
gentle  soaping,  and  one  or  two  days  exposure  on  the  grass. 

“ In  general,  better  work  may  be  produced  in  the  winter 
months  than  in  summer:  in  hot  weather,  the  colour  is  liable  to  be 
uneven,  patched  and  meally;  the  cauffe  of  this  has  not  been  well 
ascertained,  though,  in  all  probability,  it  arises  from  the  increased 
action  of  the  sulphat  of  iron  and  lime  at  an  increased  tempera- 
ture: it  is  not  unlikely  that  weaker  copperas  vats  would  be  found 


389 


to  act  better  in  summer  than  strong  ones,  as  the  efTect  of  tem- 
perature would  thereby  in  some  degree  be  counteracted. 

“ From  the  nature  of  the  process  of  China  blue  dipping,  it  must 
be  evident  that  it  must  precede  any  other  application  ot  colours 
to  which  the  cloth  is  intended  to  be  subjected.  If,  for  instance, 
reds  or  yellows  are  to  be  introduced,  these  must  follow  the  ope- 
ration of  dipping;  as  they  would  inevitably  be  ruined  by  repeated 
immersions  in  copperas  and  lime,  or  wholly  discnarged  by  cold 
and  hot  souring.” 

Of  Pencil  Colours.  These  are  laid  on  by  young  boys 
and  girls  wish  a pencil  after  the  piece  is  printed. 

Blue.  1 have  already  given  several  receipts  for  pen- 
cil blue,  which  will  answer  perfectly:  I do  not,  how- 
ever, think  it  unnecessary  to  add  the  following  varia- 
tion, from  my  notes  on  the  practice  of  printing  cal- 
licoes. 

Put  two  quarts  of  water  into  a copper  pan;  add 
twenty  ounces  of  good  fresh  made  lime,  pounded  and 
sifted,  to  separate  the  flinty  and  unburnt  parts:  then  ten 
ounces  of  the  best  Guatimala  indigo,  ground  as  fine 
as  possible,  which  is  essential.  Mix  the  whole  together 
and  boil  upon  a slow  fire  for  half  an  hour,  keeping 
the  mixture  stirred  all  the  time.  When  cold,  add  eight 
ounces  of  red  (or  yellow)  orpiment;  boil  it  then  once 
more  for  a quaiter  of  an  hour,  and  lastly  add  two 
quarts  of  strong  gum  water. 

1 think  the  above  would  be  improved  by  the  addi- 
tion of  half  a pound  of  pearl  ash,  but  such  is  the  ac- 
tual process  of  practice. 

Green.  Fustic  four  ounces,  green  copperas  one 
ounce,  logwood  liquor  one  quart,  verdigris  a quarter 
of  an  ounce;  boil  lor  an  hour;  strain  it;  thicken  with 


390 


starch.  Add  indigo-pencil  blue  till  you  bring  it  to  the 
proper  shade.  This  is  in  fact  a ( hemical  colour,  not 
fast;  nor  is  the  next,  which  is  of  the  same  description. 

Yellow.  Dissolve  an  ounce  of  turmeric  in  half  a pint 
of  spirits  of  wine,  and  add  to  it  a decoction  of  saffron, 
a quarter  of  an  ounce  in  a quart  of  water,  more  or  less, 
as  the  shade  of  colour  requires.  Thicken  with  gum. 

Orange.  Annatto  one  pound,  pearl  ash  half  a pound, 
water  five  quarts;  boil  them  together  in  a brass  pan, 
keeping  them  constantly  stirring  till  the  boiling  com- 
mences. Let  the  liquor  stand  till  it  is  cold  and  settled; 
pour  off  the  clear  liquor  and  thicken  it  for  use. 

This  is  rather  a full  nankin  than  an  orange:  it  is  at 
best  a fugitive  colour,  and  not  fit  for  good  work,  as  it 
will  not  bear  more  than  one  washing.  Of  these  pencil 
colours,  none  are  good  but  the  blue.  A green  is  pro- 
duced by  pencilling  over  a yellow  previously  raised 
with  weld  or  quercitron. 

0/*  Chemical  Colours.  The  printers  call  those  “ che- 
mical colours”  which  are  mixed  with  the  mordant 
previous  to  either  the  one  or  other  being  applied  to 
the  cloth.  The  pieces  therefore  are  printed  at  once 
with  the  colours  of  the  pattern,  and  do  not  require  to 
be  afterwards  dyed.  This  mode  of  printing  is  more 
expeditious  and  cheaper  than  that  by  means  of  dyed 
or  raised  colours,  but  it  is  very  imperfect,  from  the 
more  fugitive  nature  of  the  colours  thus  laid  upon  the 
cloth. 

My  notes  on  this  part  of  the  subject,  are  as  follows: 

Black.  Vinegar,  four  gallons;  blue  galls,  bruised, 
eight  pounds;  boil  them  till  the  goodness  is  extracted 


out  of  the  galls,  and  they  are  quite  soft;  squeeze  and 
strain  them.  Add  to  this  liquor  one  pound  and  a half 
of  green  copperas,  and  one  quart  of  nitrat  of  iron,  or 
a strong  solution  of  iron  in  aqua  fortis,  slowly  made, 
and  by  a little  iron  put  in  at  a time. 

Another:  Galls,  four  pounds;  logwood,  one  pound; 
vinegar,  one  gallon;  water,  one  gallon;  green  cop- 
peras, four  ounces;  blue  copperas,  two  ounces;  iron 
liquor,  one  pint;  nitrat  of  iron,  one  pint. 

As  the  oxyds  of  lead,  mercury,  and  silver,  are  apt 
to  turn  black,  I suggest,  that  this  may  be  improved 
by  a small  portion,  six  ounces  for  instance,  of  sugar 
of  lead,  in  the  first  receipt. 

Gray.  Dilute  the  blacks,  as  the  strength  of  your 
colour  requires. 

Mud.  Water,  one  gallon;  pounded  galls,  twelve 
ounces;  madder,  four  ounces;  green  copperas,  four 
ounces;  logwood,  four  ounces;  spirit  of  salt,  two 
ounces.  The  galls  and  logwood  should  be  boiled  till 
the  colour  is  extracted,  then  strained,  and  then  add 
the  green  copperas.  Dilute  with  water  according  to 
'the  required  shade. 

In  my  opinion  the  spirit  of  salt  ought  to  be  super- 
seded, by  using  a gallon  of  vinegar  instead  of  a gallon 
of  water. 

Emperor'' s Eye.  Boil  in  a gallon  of  water  for  half 
an  hour,  two  pounds  of  sumach;  and  one  pound  of 
green  copperas,  in  a bag  for  a quarter  of  an  hour. 
Thicken  for  use. 

Stone.  Two  quarts  of  vinegar,  and  two  pints  of 
chemical  black,  boiled  together  gently  for  ten  minutes. 


392 


Drab.  Make  a strong  decoction  of  sumach,  with  a 
small  quantity  of  fustic  in  it.  Take  equal  partb  of 
this  decoction,  of  vinegar,  or  rather  of  tar  acid,  and  of 
water.  Add  to  them  three  ounces  of  green  copperas, 
and  half  an  ounce  of  sal  ammoniac. 

Tar  acid  and  pyroligneous  acid  are  the  same. 

Bancrofts  Drab.  Sulphat  of  iron,  (green  copperas,) 
one  pound;  quercitron,  three  pounds;  chalk,  four 
ounces.  Or,  iron  liquor  and  quercitron.  Or,  querci- 
tron and  nitrat  of  lead. 

Olive.  Take  strong  decoction  of  quercitron,  with  a 
small  quantity  of  yellow  berries  added  to  it,  one  gal- 
lon; green  copperas,  three  ounces;  blue  copperas,  two 
ounces. 

Yellowish  Greefi.  R^d  liquor,  one  pint;  iron  liquor, 
one  quart:  boil  six  pounds  of  quercitron,  and  half  a 
pound  of  logwood,  with  four  ounces  of  verdigris,  in 
three  gallons  of  water;  strain  the  decoction  and  add  it 
to  the  mixed  mordants;  thicken  for  use. 

Yellow.  Boil,  or  rather  scald  two  pounds  of  querci- 
tron, in  a gallon  of  water,  during  two  hours:  strain  the 
liquor;  make  it  up  a full  gallon;  add  two  pounds  more 
of  quercitron,  and  one  ounce  of  powdered  galls;  boil  it 
again  for  an  hour,  and  strain  it;  make  it  up  a full  gal- 
lon; add  to  it  half  a pint  of  a strong  solution  of  copper 
in  aqua  fortis,  and  a gill  of  red  colour. 

Another.  Bruise  two  pounds  of  yellow  berries,  called 
also  French  berries,  Turkey  berries,  graines  d’Avig- 
non:  boil  them  with  a quarter  of  an  ounce  of  saffron  in 
five  quarts  of  water  to  a gallon,  add  a gill  of  strong 
red  liquor,  and  twice  as  much  nitrat  of  iron.  Thicken. 


393 


! 

4 


I 


i 

r 

t 

j 

t 

I 


When  the  fugitive  yellow  colour  washes  away,  the 
nitrat  of  iron  gives  a permanent  buff,  which  is  raised 
by  the  soap  in  washing. 

Green.  To  the  quercitron  in  the  first  yellow  just 
above  given,  add  a pound  of  logwood,  two  quarts  of 
water,  and  two  ounces  of  verdigris. 

Blue.  The  pencil  blue  of  indigo  already  given. 

False  Blue.  Logwood,  one  pound  and  a half,  boiled 
in  two  quarts  water  and  two  quarts  vinegar;  add  to  it 
four  ounces  blue  vitriol,  and  eight  ounces  verdigris, 
dissolved  in  two  quarts  of  hot  vinegar. 

Saxon  Blue  is  not  worth  using  on  printed  callicoes. 

Salmon.  Three  gallons  of  water;  wherein  boil  three 
pounds  of  madder,  two  pounds  of  sumach,  and  half  a 
pound  of  quercitron;  strain  and  add  a pint  red  colour. 

Red.  Six  quarts  stale  beer,  two  pounds  of  brazil 
wood,  one  ounce  bruised  galls,  then  add  two  ounces 
powdered  alum,  strain  the  liquor,  and  when  cold  add 
to  it  four  ounces  of  a solution  of  tin  made  in  aqua 
regia,  composed  of  one  part  aqua  fortis,  three  parts 
muriatic  acid. 

This  is  a poor  colour:  indeed  there  is  no  good  red. 
The  following  I first  introduced  in  a large  way,  and 
I find  by  an  article  in  Rees’  Cyclopaedia  that  it  is 
now  common  in  England;  I never  knew  it  used  till  it 
was  employed  for  second  reds  by  Baker  and  Com- 
pany, under  my  direction,  about  the  year  1790. 

In  a large  tinned  copper  vessel  make  a solution  of 
good  brazil  wood,  by  scalding  for  an  hour  a pound  of 
brazil  to  each  gallon  of  water;  a quarter  of  an  ounce 

3 D 


394 


of  pearl  ash  to  each  gallon  may  be  added.  Strain  the 
liqu  or  through  cloth. 

Make  a solution  of  tin  in  aqua  regia  composed  of 
two-thirds  spirit  of  salt,  and  one  third  aqua  fortis,  tak- 
ing good  care  that  they  contain  no  iron.  Dilute  a pint 
of  this  solution  with  a gallon  of  water,  and  add  it  to 
the  brazil  decoction  in  the  proportion  of  about  half  a 
gallon  of  the  diluted  tin  liquor  to  a gallon  of  the  de- 
coction, or  rather  add  it  by  degrees  till  you  find  no 
more  precipitate  produced  by  the  addition.  Let  off  the 
clear  liquor;  collect  the  red  sediment,  and  dry  it  gra- 
dually in  the  shade,  or  you  may  keep  it  in  jars  in  the 
form  of  a moist  paste.  Dissolve  this  red  sediment 
in  the  cold,  in  a fresh  solution  of  tin,  diluted  with  an 
equal  part  of  water.  Thicken  and  print  with  it.  The 
pieces  must  not  be  carried  up  to  the  stove  room,  but 
gently  dried  in  the  warm  air  in  the  shade,  or  in  a room 
moderately  warm.  If  the  pieces  are  winced  two  or 
three  times  through  whiting  or  chalk  and  water,  the 
acid  will  be  less  liable  to  injure  the  cloth.  This  red 
will  be  more  pinky  and  brighter  after  one  washing  in 
soap  and  water,  and  will  bear  two  or  three  moderate 
washings. 

Purple.  Precipitate  a decoction  of  logwood,  by  a 
solution  of  blue  vitriol:  dissolve  the  moist  sediment 
either  in  solution  of  blue  vitriol,  or  solution  of  tin  in 
aqua  regia,  (nitro-muriatic  acid,)  and  print  with  it,  as 
above. 

The  following  article  from  Rees’  Cyclopaedia, 
though  differing  in  some  degree  from  the  processes  I 
have  given,  is,  like  the  two  other  articles  relating  to 


I 


395 


( callicoe  printing  in  that  work,  drawn  up  by  a master 

I hand.  I have  before  mentioned  that  the  pink  reds 
among  the  chemical  colours,  so  much  praised  in  this 
article,  were  first  introduced  by  myself.  1 think  the 
principle  can  be  extended  to  yellows. 

“ Colour,  and  Colour  Making,  in  Callicoe-Printing.  The  pre- 
paration of  colours  for  cailicoe-printing,  constitutes  one  great 
branch  of  that  beautiful  art,  and  involves  in  it  a series  of  interest- 
ing and  important  processes.  As  an  art,  its  operations  are  more 
dependant  than  almost  any  other,  on  those  minute  differences 
and  changes  in  the  constitution  of  bodies,  which  it  is  the  business 
of  chemistry  to  investigate.  Hence  that  liability  to  error  and  un- 
certainty which,  in  the  hands  of  the  ignorant,  pervades  many  of 
its  processes,  though  conducted  according  to  long  established 
and  approved  formulae.  Our  present  volume  would  scarce  suffice 
for  the  various  receipts  in  which  the  art  abounds;  yet,  in  the  fol- 
lowing article,  we  shall  endeavour  to  lay  down  general  principles, 
rather  than  more  practical  directions;  convinced,  that  by  pre- 
senting our  readers  with  a clear  and  concise  theory,  deduced 
from  such  practical  illustrations  as  may  be  necessary  for  this 
purpose,  we  shall  render  them  a more  acceptable  service. 

“ The  term  cola,  in  callicoe  printing,  is  applied  not  only  to 
those  vegetable,  animal,  and  mineral  solutions,  which  impart 
their  own  colour  to  the  cloth  on  which  they  are  applied,  but  also 
improperly  to  those  earthy  or  metallic  solutions,  which,  possess- 
ing little  or  no  tingent  properties  themselves,  yet  retain  or  fix 
the  colours  of  other  substances,  when  afterwards  applied  to  the 
cloth.  Thus  the  acetite  of  alumine,  or  printer’s  red  liquor,  when 
pure,  is  almost  colourless,  and  only  becomes  red  by  the  process 
of  dyeing,  as  will  be  explained  hereafter.  The  acetite  of  iron, 
or  iron  liquor,  in  like  manner,  when  used  of  a determinate 
strength,  is  called  black  colour,  and  when  weaker  fmrjile  colour, 
though  the  cloth  impregnated  with  these  solutions  becomes  black 
or  purple,  only  as  being  raised,  like  the  other,  in  the  dye- 
copper. 

“ 1.  The  colours  produced  by  means  of  these  earthy  or  me- 
tallic solutions  (which,  in  the  language  of  science,  are  called 
mordants,)  form  the  most  valuable  and  important  series,  whether 


396 


t 


considered  with  regard  to  the  almost  infinite  variety  of  shades,  or 
to  their  solidity  and  durability.  These  colours,  from  the  mode  in 
which  they  are  produced,  (the  mordant  being  first  applied  to  the 
cloth,  and  the  colour  afterwards  raised  by  dyeing,}  are  called 
dyed  colours. 

“ 2.  Sometimes  the  mordant  is  previously  mixed  with  a solu- 
tion of  colouring  m.atter,  and  in  that  state  applied  to  the  cloth,  so 
as  to  paint  or  stain  it,  at  one  operation,  and  without  the  process 
of  dyeing.  Thus,  another  class  of  colours  is  produced,  many  of 
them  possessing  great  brilliancy  indeed,  but  much  inferior  to  the 
former  in  durability.  The  colours  called  chemical,  by  callicoe 
printers,  belong  chiefly  to  this  class. 

“ 3.  In  the  third  and  last  class,  we  may  place  all  those  where 
the  colouring  matter  is  simply  held  in  solution  by  an  acid  or  al- 
kali, and  in  this  state  applied  to  the  cloth,  without  the  interven- 
tion of  any  mordant.  To  one  or  other  of  the  foregoing  ciasses, 
may  be  referred  all  the  colours  used  in  callicoe  printing;  with  , 
the  exception,  however,  of  those  systems  of  colours  which  have 
been  produced  by  callicoe  printers  in  this  country,  within  a short 
period,  by  processes,  and  upon  principles  which  have  hitherto 
not  been  made  known. 

“CLASS  I. 

“ The  colours  of  this,  as  has  been  already  observed,  are  pro- 
duced, by  first  impregnating  the  cloth  with  an  earthy  or  metallic 
solution,  or  mordant,  and  raising  the  colour  afterwards  by  dyeing. 
In  this  article  we  shall  confine  ourselves  to  the  preparation  of  the 
different  mordants,  and  the  enumeration  of  colours  they  afford, 
with  different  colouring  substances.  The  operations  of  the  dye- 
house,  and  the  mode  of  raising  the  colours  in  the  dye-copper, 
ivill  be  detailed  hereafter. 

“ The  two  great  and  most  important  mordants  used  in  callicoe 
printing,  are  those  that  we  have  already  noticed,  -viz.  the  solution 
of  iron  in  acetous  acid  or  vinegar,  called  iron  liquor,  and  the  ace- 
tous solution  of  alumine,  or  the  earth  of  alum,  called  red  liquor, 
or  red  colour,  and  sometimes  yellow  liqour. 

“ With  these  two  solutions,  either  separately  applied,  and  of 
various  strengths,  or  mixed  together,  and  in  various  proportions, 
an  infinite  variety  of  shades  of  colour  are  produced.  Almost  ail 
the  hues  in  natute  may  be  obtained  by  raising  them,  and  their 
various  combinations,  with  different  colouring  substances.  From 


397 


madder,  with  the  acetite  of  alumine,  or  red  liquor,  we  obtain  va- 
rious shades  of  red,  from  the  darkest  blood  colour  to  a pink. 
From  weld  aiid  quercitron  bark,  yellows,  varying  in  intensity 
from  a deep  orange  to  a pale  straw  colour,  according  to  the 
strength  of  the  mordant  employed.  From  logwood,  various  shades 
of  violet;  from  cochineal,  Brazil,  and  Nicaragua  wood,  pink  and 
crimsons  of  different  hues;  and,  in  short,  from  almost  every  dif- 
ferent colouring  substance,  a different  shade  of  colour.  With  the 
acetat  of  iron,  or  iron  liquor,  of  different  strengths,  we  obtain 
from  madder  all  the  intermediate  hues  between  black  and  pale 
purple,  or  lilac.  From  weld  and  bark,  olives,  browns  and  drabs, 
of  various  hues;  from  sumach,  logwood,  galls,  and  other  astrin- 
gent substances,  all  the  varieties  of  gray,  from  the  palest  shades 
to  the  deepest,  in  which  all  the  minute  differences  of  hue  are  lost 
till  they  approach  to  black.  These  various  shades  are  further 
modified  by  applying  two  or  more  colouring  substances  to  the 
same  mordant,  as  madder  and  weld,  for  example,  to  the  acetite 
of  alumine,  which  produces  orange,  light  cii  namon,  nankeen, 
&c.;  and  again  still  further,  by  mixing  the  mordants  themselves 
in  various  proportions,  and  raising  them  with  either  one  or  more 
of  the  different  colouring  matters.  By  these  nieans  shades,  and 
varieties  of  colour,  may  be  produced  from  a few  substances  only, 
which  baffle  description,  and  for  which  language  has  no  precise 
or  definite  terms. 

. “ The  acetite  of  iron,  or  iron  liquor,  is  variously  prepared.  In 
this  country  it  is  chiefly  made  with  the  pyroligneous  acid,  which 
Fourcroy  has  proved  to  be  identical  with  the  acetous.  Malt  acid 
is  preferred  by  many  on  account  of  its  being  free  from  volatile 
oil  and  resinous  matter,  with  which  the  other  abounds;  but  the 
great  difference  in  price,  and  the  facility  with  which  it  is  obtain- 
ed, has  brought  the  acid  of  wood  almost  into  general  use.  A se- 
ries of  casks  filled  with  scraps  and  turnings  of  iron,  upon  which 
the  acid  is  poured,  is  almost  the  only  apparatus  necessary  for 
making  iron  liquor;  yet  when  the  consumption  is  great,  or  when 
it  is  prepared  for  sale,  vats  capable  of  holding  several  hundred 
gallons  are  substituted  for  casks,  and  the  acid  is  kept  in  a state 
of  circulation  through  the  iron  by  means  of  pumps.  The  satura- 
tion is  much  accelerated  by  this  motion,  which  prevents  any  de- 
position on  the  surface  of  the  iron  which  might  defend  it  from 
the  action  of  the  acid,  and  also  brings  fresh  portions  of  unsatu- 


398 


I'ated  acid  more  frequently  in  contact  with  the  metal.  In  a few 
weeks,  sooner  or  later  in  proportion  to  the  strength  of  the  acid, 
the  saturation  is  completed,  and  the  liquor  is  then  removed  from 
the  vat  into  casks  for  use,  and  fresh  acid  poured  upon  the 
iron  as  before.  This  is  an  easy  and  simple  mode  of  making  iron 
liquor,  and  as  it  requires  but  little  trouble  and  attention,  is  the 
one  most  generally  in  use.  The  precautions  necessary  to  be  ob- 
served are,  that  the  acid,  if  it  be  the  pyroligneous,  should  not  be 
used  too  soon  after  its  preparation.  It  holds  much  essential  oil 
and  resin  in  solution,  part  of  which  separates  on  being  kept  a few 
weeks,  and  the  clear  acid  may  then  be  drawn  off.  It  may  be  still 
further  freed  from  resin  by  boiling;  a portion  of  essential  oil  is 
thus  thrown  off,  and  the  resin,  if  held  suspended,  is  precipitated 
after  standing  some  time.  W e shall  have  occasion  to  recur  to  this 
subject  again,  when  we  come  to  treat  of  the  pyroligneous  acid, 
and  its  formation,  under  the  article  Distillation  oj  Wood.  It  is  ne- 
cessary also,  that  the  iron  should  be  perfectly  clean  and  all  of  it 
malleable.  Cast  iron  is  not  soluble  in  acetous  acid.  Hoop  iron  cut 
into  lengths  of  from  eight  to  ten  inches  is  preferable  to  any  other. 
It  is  readily  cleaned,  and  more  easily  taken  out  of  the  vat  and 
returned  into  it  again,  than  misshapen  masses  sold  under  the 
name  of  old  iron.  When  malt  acid  is  employed,  simple  heating 
and  washing  is  sufficient  to  free  it  from  any  foulness  it  may  have 
contracted  in  the  vat;  but  when  the  pyroligneous  acid  has  been 
used,  it  becomes  so  coated  with  resin  on  its  upper  surface  after 
a second  or  third  solution,  as  to  prolong  the  period  of  saturation 
to  twice  or  thrice  its  usual  length.  In  this  state  it  must  be  re- 
moved from  the  vat  and  heated  to  redness  in  an  oven,  through 
which  there  is  a current  of  air.  The  resin  is  consumed,  and  the 
iron  by  heating  is  freed  from  any  remains  of  carbonaceous  mat- 
ter that  may  adhere  to  it,  and  is  again  ready  for  the  vat. 

“ The  only  objection  to  this  mode  of  making  iron  liquor  is  the 
time  required  to  saturate  the  acid,  which  to  those  whose  con- 
sumption is  very  gi'cat,  or  who  manufacture  it  for  sale,  is  often- 
times of  importance.  Different  processes  have  therefore  been 
devised  to  remedy  this  inconvenience,  in  many  of  which  the  sa- 
turation is  accelerated  by  means  of  heat,  which  is  applied  in  various 
ways,  as  best  suits  the  convenience  of  the  manufacturer;  but  the 
most  expeditious  mode  is  that  of  presenting  the  iron  to  the  acid  in 
a state  of  oxy elation,  by  which  means  the  solution  is  effected  im- 


399 


mediately.  Callicoe  printers  have  long  been  in  the  habit  of  using 
an  extemporaneous  acetite  of  iron,  formed  by  mixing  together 
solutions  of  acetite  of  lead  and  sulphat  of  iron.  A very  pure  ace- 
tite of  iron  may  be  obtained  by  this  means,  but  the  price  of  acetite 
of  lead  renders  this  mode  too  expensive  for  general  use.  By 
forming  a solution  of  lead,  however,  in  pyroligneous  acid,  and  de- 
composing it  with  sulphat  of  iron  or  copperas,  an  iron  liquor 
may  be  obtained  sufficiently  cheap  to  render  this  process  advan- 
tageous in  many  cases,  though  still  more  expensive  than  the 
ordinary  mode.  A patent  was  lately  taken  out  for  making  iron 
liquor  by  a process  somewhat  similar  to  this,  which,  however,  we 
understand  has  not  answered  the  expectation  formed  of  it.  A so- 
lution of  lead  in  pyroligneous  acid  is  digested  on  clear  metallic 
iron.  The  iron  becomes  oxydated  at  the  expense  of  the  lead  and 
is  dissolved,  whilst  the  lead  is  precipitated  in  the  metallic  state, 
and  may  again  be  used  for  a fresh  solution.  All  these  modes  are 
evidently  more  expensive  than  the  ordinary  one  of  simple  solu- 
tion of  metallic  iron  in  pyroligneous  acid,  and  the  only  conside- 
ration with  the  manufacturer  is,  whether  this  extra  expense  is 
counterbalanced  by  the  economy  of  time  or  not. 

“ The  process  adopted  some  years  ago  by  Mr.  Thomson,  is 
perhaps  the  most  expeditious,  and  next  to  the  common  mode, 
the  most  economical  of  any  yet  in  use.  It  consists  in  saturating 
the  pyroligneous  acid  with  quicklime,  and  pouring  the  clear 
boiling  solution  on  as  much  sulphat  of  iron  or  copperas  as  will 
precipitate  the  whole  of  the  lime.  A cask  of  iron  liquor  may  be 
made  by  this  mode  in  a few  hours,  and  when  care  has  been  taken 
rightly  to  proportion  the  ingredients  so  as  to  produce  complete 
decomposition,  it  is  inferior  to  no  solution  whatever  in  any  of  its 
properties. 

“ The  properties  of  the  acetous  solution  of  iron  fit  it  eminently 
above  all  others  for  the  purpose  of  the  callicoe  printer,  and  hav- 
ing detailed  its  preparation  we  shall  endeavour  to  point  o.ut  in 
what  this  superiority  consists. 

“ The  acetite  of  iron  exists  in  two  states,  dependant  on  the 
quantity  of  oxygen  combined  with  the  iron.  When  pure,  and  re- 
cently prepared,  it  is  of  a pale  greenish  hue,  but  by  exposure  to 
air  soon  becomes  tinged  with  brown.  In  this  state  the  iron  is  at 
its  lowest  point  of  oxydation,  strongly  attractive  of  oxygen,  and 
if  precipitated  by  an  alkali,  of  a deep  green  colour.  By  exposure 


* 


400 


to  the  atmosphere,  and  consequent  absorption  of  air,  the  solution 
passes  to  a deep  red  brown,  and,  if  concentrated,  deposits  orange 
oxyd  of  iron,  and  becomes  strongly  acidulous.  With  this  excess 
of  acid,  the  solution  now  becomes  permanent;  the  iron  is  almost 
wholly  at  the  maximum  of  oxydation;  and,  when  precipitated,  of 
a dark  red  colour. 

“The  same  takes  place  only  in  a less  degree,  and  more  slowly, 
with  the  sulphuric  and  muriatic  solutions  of  iron.  Of  a pale 
greenish  hue  in  their  recent  state,  they  gradually  attract  oxygen 
from  the  atmosphere,  and  become  slightly  red,  deposit  red 
oxyd  of  iron  and  pass  to  a state  of  acidity,  at  which  the  solution 
becomes  permanent,  and  the  oxydation  of  the  iron  proceeds  no 
further. 

“ If  the  solutions,  properly  thickened  with  gum  or  flour,  are 
applied  to  cloth,  the  same  change  takes  place,  but  with  more  ra- 
pidity, from  their  diffusion  over  a thin  surface,  and  more  complete 
exposure  to  the  air.  The  aqueous  and  volaptile  part  of  the  solution 
speedily  evaporates,  and  as  the  oxydation  goes  on,  the  oxyd  of 
iron  is  deposited  on  the  cloth,  and  a portion  of  acid  set  free. 
When  this  acid  is  volatile,  as  is  the  case  with  the  acetous,  and 
also  in  a great  degree  with  the  muriatic,  it  is  dissipated.  The 
oxydation  of  the  iron  then  goes  on,  fresh  portions  of  acid  arc 
again  liberated  and  drawn  off  till  the  whole  of  the  solution  is  de- 
composed, and  the  oxyd  of  iron  deposited  in  the  cloth.  When  the 
acid  is  not  volatile,  however,  as  is  the  case  with  the  sulphuric, 
the  first  portions  of  acid  that  are  liberated  not  being  drawn  off, 
the  oxydation  proceeds  more  slowly  till  the  excess  of  acid  be- 
comes so  great  as  wholly  to  interrupt  it,  and  great  part  of  the 
iron  in  the  operation  of  rincing  is  again  carried  off  the  cloth. 
Another  and  more  serious  inconvenience  attending  the  use  of 
the  sulphuric  solution  is  its  action  on  the  cloth  itself.  The  dis- 
engaged acid  being  in  a state  of  great  concentration  acts  upon  its 
fibres,  weakens,  and  at  last  destroys  them.  The  same  takes  place 
with  the  muriatic  solution  also,  for  though  the  excess  of  acid  is 
slowly  dissipated,  yet  it  has  sufficient  time  and  concentration  to 
act  very  powerfully,  and  is,  if  possible,  still  more  destructive 
than  the  sulphuric,  since  its  action  is  not  confined  to  the  part  on 
which  it  is  applied,  but  from  its  volatility  extends  over  the  whole 
surface  of  the  cloth. 

“ It  is  necessary,  therefore,  that  the  acid  should  be  not  only 


4G1 


volatile,  but  harmless  in  its  action  on  the  vegetable  fibre,  which 
conditions  are  more  completely  fulfilled  by  the  acetous  than  by 
any  other  solution  whatever.  From  the  preceding  observations 
on  the  properties  of  the  acetite  of  iron,  and  the  changes  it  under- 
goes on  the  surface  of  the  cloth,  may  readily  be  deduced  the  rea- 
sons for  that  exposure  to  heat  and  air  which  callicoe  printers 
have,  from  long  experience,  found  necessary  to  goods  printed 
with  this  solution.  By  exposure  to  air  iron  becomes  oxygenated 
and  deposited  on  the  cloth,  whilst  the  heat  favours  the  liberation 
of  the  acid,  and  accelerates  the  process.  From  what  has  gone 
before  it  may  also  be  inferred,  that  the  acetite  of  iron  should  be 
used  in  its  recent  or  green  state,  since  in  that  state  the  acetous 
acid  is  capable  of  holding  a greater  quantity  of  oxyd  of  iron  in 
s oltion,  and  that  consequently  after  its  saturation  and  removal 
from  the  iron,  it  should  not  be  too  much  exposed  or  agitated  in 
contact  with  the  air.  On  this  account,  also,  it  is  wrong  to  pump 
the  liquor  in  the  vats  too  much  when  it  approaches  the  point  of 
saturation,  since  the  oxygenated  iron  is  alniost  all  precipitated, 
and  fresh  portions  immediately  dissolved,  so  that  the  liquor 
might  in  time  be  rendered  quite  thick  with  precipitated  oxyd 
of  iron. 

“ The  preceding  ideas  are  at  variance  with  the  general  opinion 
respecting  the  state  in  which  the  acetite  of  iron  should  be  em- 
ployed. All  the  speculative  writers,  and  even  many  well  acquaint- 
ed with  the  processes  of  callicoe  printing,  recommend  the  oxy- 
genation of  the  solution  by  exposure  to  air  and  removal  from 
the  iron,  as  essential  to  the  goodness  of  the  iron  liquor.  Even 
Berthollet,  in  the  last  edition  of  his  “ Elements  of  the  Art  of 
Dyeing,”  has  fallen  into  the  same  mistake,  the  source  of  which, 
and  the  facts  which  seem  to  countenance  it,  we  shall  point  out  in 
a future  article. 

“ It  is  an  object  of  importance  to  the  callicoe  printer  to  know 
the  precise  strength  of  his  iron  liquor,  and  to  be  able  to  ascertain 
this  at  all  times,  with  little  trouble  or  chance  of  error.  Great  mis- 
chief and  inconvenience  often  arises  from  uncertainty  in  this 
respect,  especially  in  the  pale  shades  of  purple,  which  are  ob- 
tained from  madder,  with  diluted  acetite  of  iron.  The  hydrome- 
ter has  been  objected  to,  as  indicating  not  merely  the  quantity  of 
iron  in  a solution,  but  also  the  essential  oil,  resin  and  mucilage 
which  these  impure  solutions  often  contain.  This  objection,  how- 

.3  E 


it 


402 


ever,  only  applies  where  the  same  instrument  and  graduation  is 
employed  to  ascertain  the  relative  strengths  of  iron  liquors,  pre- 
pared with  different  acids,  as  the  pyroligneous  which  contains 
much  essential  oil  and  resin,  and  malt  acid  which  abounds  in 
mucilage.  In  this  case  the  hydrometer  may  indicate  great  differ- 
ences in  solutions  containing  equal  quantities  of  acid  and  iron,  but 
varying  in  the  quantities  of  mucilage,  oil,  or  resin.  Iron  liquor 
however,  prepared  constantly  by  the  same  process,  and  from  the 
same  acid,  varies  so  little  in  the  relative  proportion  of  its  ingre- 
dients, that  the  hydrometer  may  be  used  to  ascertain  its  strength 
in  preference  to  any  other  mode  whatever;  provided  the  neces- 
sary precautions  are  used  to  correct  any  error  arising  from 
variation  of  temperature. 

‘‘  In  a work  of  this  kind,  not  illustrated  by  actual  specimens, 
and  without  reference  to  some  particular  kind  of  iron  liquor,  it 
is  impossible  to  point  out  the  specific  gravities  of  the  difi’erent 
solutions  required  for  prtriucing  the  various  shades  we  have 
enumerated.  An  acetile  of  iron,  of  specific  gravity  1.047,  with 
madder  or  logwood,  will  produce  a black,  and  with  weld  or  su- 
mach an  olive,  and  diluted  with  six,  eight,  or  ten  times  its  bulk 
of  water,  various  shades  of  purple,  drabs,  or  olives,  according  to 
the  colouring  matter  employed.  A standard  solution  of  iron  once 
obtained,  the  necessary  strength  for  producing  the  different  va- 
rieties of  colour  is  easily  ascertained  by  actual  experiment,  and  to 
this  we  must  refer  our  readers. 

“ When  thickened  with  flour  or  gum,  and  tinged  with  a decoc- 
tion of  logwood  or  brazil,  the  better  to  enable  the  workman  to 
observe  the  progress  and  state  of  his  work,  it  forms,  as  we  have 
before  observed,  the  printers’  black  colour,  a purple  colour,  &c. 
according  to  the  strength  of  the  solution  and  the  purpose  it  is 
intended  for.  Various  ingredients  were  formerly  added  to  iron 
liquor,  to  improve  its  quality,  or  vary  the  hue  of  colour  it  pro- 
duced. Verdigris  and  copperas  were  added  to  the  solution  in- 
tended for  black;  and  sal  ammoniac  or  nitre  to  the  diluted  solu- 
tions for  pui’ple.  These  are,  however,  now  almost  universally  laid 
aside,  as  being  for  the  most  part  useless,  and  often  hurtful:  the 
simple  acetite  of  iron  being  found  to  answer  every  purpose  of  the 
more  complicated  and  heterogeneous  solutions. 

“ The  acetite  of  alumine,  or  red  liquor,  is  always  prepared  by 
tlie  decomposition  of  alum,  by  an  earthy  or  metallic  salt,  since 


403 


the  aluminous  earth  is  not  soluble  in  acetous  acid,  except  in  its 
newly  precipitated  and  minutely  divided  state.  The  purest  solu- 
tion, and  that  which  is  generally  used  for  the  finest  and  most 
delicate  colours,  is  produced  by  decomposing  alum  with  Dutch 
sugar  of  lead,  generally  in  the  proportion  of  two  parts  by  weight 
of  the  former,  to  one  of  the  latter.  The  proportion  of  the  two 
salts,  and  also  the  quantities  of  each  gallon,  as  used  by  dilferent 
callicoe  printers,  vary  yet  with  little  difference  in  effect.  The 
alum  in  general  predominates  so  far  as  completely  to  saturate 
the  liquor.  The  printers’  aluminous  mordant  therefore  is  a com- 
pound solution.  It  is  an  aceto-sulphat  of  alumine,  consisting  of  a 
saturated  solution  of  common  alum,  and  more  or  less  acetite  of 
alumine,  according  to  the  quantity  of  sugar  of  lead  employed.  In 
the  neighbourhood  of  London,  the  proportions  are  six  pounds  of 
alum,  and  three  pounds  of  sugar  of  lead  to  a gallon  of  water: 
when  these  are  completely  dissolved,  one  ounce  of  Spanish  white 
is  added,  and  the  whole  briskly  stirred  till  the  effervescence  has 
in  great  measure  subsided.  In  a few  hours  the  solution  becomes 
clear,  and  forms  a standard  liquor  from  which,  by  greater  or 
less  dilution,  may  be  obtained  all  the  various  shades  of  red,  yel- 
low, &c.  already  enumerated.  In  t’r>.e  above  formula  the  proportion 
of  alum  is  somewhat  too  great,  a part  of  it  remains  undissolved, 
or  immediately  recrystallizes  and  falls  to  the  bottom  along  with 
the  precipitated  lead.  This  excess  of  alum  is  however  strongly 
insisted  on  by  many  callicoe  printers,  as  essential  to  the  purity  of 
the  mordant,  from  an  idea  that  the  purest  part  of  the  alum  only 
is  taken  up  in  the  solution.  This  fact  however  may  be  readily 
disproved  by  employing  this  undissolved  or  recrystallized  alum 
in  the  formation  of  fresh  solutions,  whose  purity  will  be  found  in 
no  respect  inferior  to  the  former.  The  purity  of  the  alum  and 
sugar  of  lead,  and  especially  their  being  free  from  iron,  is  of 
great  importance  in  the  preparation  of  this  mordant,  and  on  this 
account  the  Dutch  sugar  of  lead  is  preferred;  but  its  high  price 
renders  it  too  expensive  except  for  the  pale  reds  of  light  chintz, 
and  other  kinds  of  work,  whose  great  delicacy  in  the  red  tints  is 
required.  A substitute  for  it  has  been  found  in  the  solution  of 
litharge  in  vinegar,  or  pyroligneous  acid,  which  is  afterwards 
^ decomposed  by  the  addition  of  alum,  and  the  excess  of  acid  neu- 
tralized by  Spanish  white  as  in  the  former  case.  Great  part  of 
the  acetite  of  alumine  manufactured  and  sold  under  the  name  of 


404 


red  liquor  is  prepared  in  this  manner.  It  is  in  general  used 
for  yellows,  dark  shades  of  red,  and  thore  compound  mordants 
into  which  the  acetite  of  iron  enters,  and  when  its  purity  is  of 
course  of  little  consequence.  The  acetite  of  lime  has  long  been 
substituted  with  great  advantage  by  the  writer  of  this  article  for 
the  solution  of  lead,  and  its  use  is  becoming  daily  more  known 
and  extended.  When  carefully  prepared,  it  is  scarce  inferior  to 
the  best  sugar  of  lead,  and  the  impure  solutions  answer  equally 
with  the  best,  for  the  compound  mordants  before  mentioned.  The 
theory  of  these  processes  is  the  same  in  all.  The  object  being  to 
obtain  a solution  of  alumine  or  earth  of  alum  in  acetous  acid.  On 
mixing  acetite  of  lead,  and  sulphat  of  alumine  together,  a change 
of  bases  takes  place;  the  sulphuric  acid  unites  with  the  lead,  and 
falls  down  in  the  form  of  a white  heavy  precipitate,  whilst  the 
earth  of  alum  combines  with  the  acetous  acid,  and  remains  in 
Solution.  The  same  takes  place  with  the  solution  of  litharge  in 
pyroligneous  acid,  which  is  indeed  an  impure  acetite  of  lead,  and 
when  the  acetite  of  lime  is  employed  instead  of  lead,  the  sul- 
phuric acid  and  lime  unite  and  form  an  insoluble  powder,  which 
subsides,  though  less  quickly  than  the  other,  whilst  the  acetite  of 
alumine  remains  in  solution  above;  the  addition  of  the  Spanish 
white  is  necessary  to  saturate  a small  excess  of  acid  which  exists 
in  the  solution.  This  excess  is  taken  up  by  the  lime,  and  imme- 
diately converted  into  acetite  of  alumine,  by  the  decomposition 
of  a fresh  portion  of  alum. 

“ The  acetite  of  alumine,  when  pure,  is  almost  colourless.  It 
has  a slight  acetous  smell,  and  when  boiling  throws  off  acetous 
acid  in  great  abundance,  and  deposits  a portion  of  alumine.  When 
evaporated  it  acquires  a thick  gummy  consistence,  but  does  not 
crystallize,  a property  which  gives  it  a decided  advantage  over 
common  alum  as  a mordant.  It  unites  readily  with  gum,  but 
when  concentrated  and  holding  tnuch  alum  in  solution,  forms 
with  flour  a watery  pulpy  kind  of  paste,  which  has  little  adhesion, 
and  from  which  the  fluid  soon  separates.  The  sulphuric  salts 
have  indeed  all  a disposition  to  injure  the  thickening  quality  of 
flour. 

“ The  affinity  of  cotton  for  the  earth  of  alum,  is  so  strong  as  to 
separate  it  from  its  combinations  even  with  the  mineral  acids. 
When  a solution  of  common  alum  properly  thickened  is  applied 
to  cloth,  a portion  of  alumine  unites  with  it,  and  the  acid,  tvhich 


405 


/ 


held  it  in  solution,  is  set  free.  When  this  is  accumulated  to  a - 
certain  degree,  it  prevents  any  further  decomposition,  and  in 
rincing  carries  off  the  greater  part  of  the  earth  again.  When  the 
acid  however  is  volatile,  like  the  acetous,  and  is  dissipated  as 
soon  as  disengaged,  there  being  no  longer  any  obstacle,  the  decom- 
position goes  on  till  the  whole  of  the  acid  is  driven  off,  and  the 
alumine  combined  with  the  cloth.  In  the  infancy  of  callicoe 
printing,  and  before  the  theory  and  constitution  of  the  different 
mordants  was  properly  understood,  a variety  of  substances  were 
added  to  the  solution,  some  of  which  are  retained  to  this  day. 
Verdigris,  in  the  proportion  of  two  ounces  to  a gallon,  is  recom- 
mended by  many  as  tending  to  exalt  the  hue  of  yellows,  and  may 
in  some  cases  be  useful.  Corrosive  sublimate  has  been  but  lately 
laid  aside,  and  the  nitro-muriat  of  tin  w'as  long  thought  to  give 
fixity  and  brilliancy  to  reds,  when  used  in  a small  proportion 
with  the  aluminous  mordant.  In  general,  however,  the  aceto-sul- 
phat  of  alumine  is  found  adequate  to  every  purpose  of  the  callicoc 
printer;  we  shall  not,  therefore,  perpetuate  error  by  detailing  any 
©f  those  unmeaning  mixtures  which  are  still  retained  by  the 
ignorant  and  prejudiced.  These  two  mordants,  the  acetites  of 
iron  and  alumine,  and  their  various  combinations,  are  those  only 
in  general  use  in  callicoe-printing,  for  producing  colours  of  the 
first  class.  This  application  is  so  extensive,  and  at  the  same  time 
so  simple,  as  to  supersede  the  necessity  of  any  other.  The  solu- 
tions of  copper  are  sometimes  used  as  mordants,  but  they  afford 
colours  of  little  solidity.  The  solutions  of  tin  have  also  been  em- 
ployed, but  we  shall  speak  of  these  and  other  earthy  and  metallic 
solutions  which  have  been  used  with  partial  success,  when  we 
come  to  treat  of  mordants  in  general. 

“CLASS  II. 

“ In  this  class  the  colours  are  produced  by  combining  a solution 
of  colouring  matter  with  some  earthy  or  metallic  salt,  capable  of 
giving  it  fixity  when  applied  to  the  cloth.  The  mordant  and  co- 
louring matter  are  here  applied  at  once,  and  the  cloth  is  painted, 
as  it  were,  or  stained,  with  the  colour  it  is  intended  to  retain, 
and  requires,  in  general,  no  farther  operation  than  that  of 
rincing,  to  free  it  from  the  paste  or  gum  with  which  it  was 
thickened. 

“ The  colour  of  this  class  possesse5,aswe  have  before  observed. 


406 


in  general  great  brilliancy,  but  wants  that  solidity  and  fixity  which 
characterise  the  colours  of  the  former  class.  The  union  of  the 
mordant  with  the  cloth  is  weakened  by  its  previous  combination 
with  the  colouring  matter,  and  not  being  favoured  by  heat,  as  in 
the  former  case,  the  triple  combination  of  vegetable  fibre,  mor- 
dant, and  colouring  matter,  wants  that  solidity  which  is  so  neces- 
sary to  constitute  what  is  called  a fast  colour. 

“ Many  of  these,  however,  are  sufficiently  durable  to  be  par- 
tially introduced,  and  intermixed  with  other  colours  of  greater 
durability,  and  some  are  indispensably  necessary,  as  no  better 
mode  has  yet  been  devised  of  producing  them.  When  the  che- 
mist’s art  shall  have  discovered  means  of  giving  fixity  to  colours 
thus  topically  applied,  the  art  of  callicoe  printing  will  have  arriv- 
ed at  perfection.  Systems  of  colours  may  then  be  combined, 
which  are  present  incompatible,  and  the  tedious  operation  of  dye- 
ing and  bleaching,  with  their  attendant  difficulties,  be  banished 
from  the  art.  Nor  is  the  hope  so  chimerical  as  might  at  first  be 
imagined;  several  of  the  most  useful  and  permanent  colours  are 
of  this  description,  as  will  be  shown  hereafter. 

“We  shall  content  ourselves  with  describing  the  leading  and 
most  useful  colours  of  this  class,  giving,  at  the  same  time,  the 
theory  of  their  constitution.  The  mere  enumeration  of  all  the  va- 
rieties that  have  or  may  be  formed,  would  be  endless  and  foreign 
to  our  purpose. 

“ Chemical  Black. 

“ This  is  the  most  useful  colour  of  the  class,  and  one  of 
indispensable  necessity  in  certain  combinations  of  colours, 
where,  for  instance,  it  is  mixed  with  drab,  olive,  and  yellow, 
raised  in  the  dye-copper  with  weld,  quercitron  bark,  or  any  simi- 
lar colouring  matter,  and  where  the  presence  of  any  substance, 
such  as  logwood  or  madder,  capable  of  producing  a full  black, 
would  be  ruinous  to  the  other  colours.  A deep  olive,  approaching 
to  black,  might,  indeed  be  produced,  by  employing  a strong  iron 
liquor,  as  mordant,  and  using  sumach  in  the  dye-copper;  yet  as 
this  would  bear  no  comparison  in  point  of  intensity  with  the  mad- 
der or  logwood  black,  and  as  the  force  of  the  colouring  in  such 
course  of  work  greatly  depends  on  contrast,  the  topical  or  che- 
mical black,  which  has  all  the  intensity  required,  is  almost  con- 
stantly employed.  The  constitution  of  this  black  is  pretty  nearly 
the  same  in  all  the  different  formulae  in  use.  It  consists  always  of 


407 


a solution  of  iron  combined  with  a solution  of  colouring  matter 
generally  of  an  astringent  nature.  On  the  right  proportion  of 
these  two  solutions,  and  on  their  due  specific  gravity  or  strength, 
depends,  in  a great  measure,  the  goodness  of  the  black. 

“ 1.  If  to  a decoction  of  Aleppo  galls,  in  five  times  their  weight 
of  water,  made  into  a paste  with  flour,  a solution  of  iron  in  nitrous 
acid  of  specific  gravity  1.25  be  added,  in  the  proportion  of  one 
measure  of  nitrat  of  iron  to  eighteen  or  twenty  of  the  former,  a 
black  will  be  formed  fit  for  almost  all  the  purposes  of  callicoe 
printing,  and  possessing  the  chief  requisites  of  this  colour,  name- 
ly, tolerable  fixity,  and  a disposition  to  work  well  with  the  block. 

“ 2.  In  lieu  of  nitrat  of  iron,  some  callicoe  printers  employ 
copperas,  in  the  proportion  of  one  pound  to  a gallon  of  the  decoc- 
tion of  galls.  Half  the  copperas  is  directed  to  be  dissolved  in  the 
gall-liquor  before  it  is  thickened  with  flour;  the  remaining  half, 
dissolved  by  heat  in  as  much  aqua  fortis  as  will  cover  it,  is  added 
afterwards.  This  black  has  tolerable  fixity,  but  does  work  so  well 
as  the  preceding. 

“3.  Copperas  dissolved  in  various  proportions  of  from  four  to 
twelve  ounces  per  gallon,  will  foi’m,  with  decoction  of  galls  or 
logwood,  blacks  of  less  solidity  indeed  than  the  former,  yet  appli- 
cable, nevertheless,  in  many  cases  where  the  others  are  not. 

“ The  constitution  of  the  two  last  mentioned  blacks  differs 
somewhat  from  the  first.  We  shall  point  out  this  difference,  and 
explain,  as  concisely  as  possible,  the  rationale  of  the  foregoing 
processes. 

“ When  a solution  of  iron  in  nitrous  acid  is  added  to  a decoc- 
tion of  galls,  as  in  the  first  example,  the  solution  is  decomposed^ 
the  iron  unites  with  the  gallic  acid  and  tannin  principle,  whilst 
the  nitrous  acid  is  disengaged.  This  is  proved  by  the  blackness 
which  the  solutions  assume  immediately  on  being  mixed.  The 
disengaged  acid,  however,  shortly  re-acts  on  the  new  com- 
pound, the  blackness  gradually  disappears,  and  in  a few  days,  if 
the  nitrat  of  iron  has  been  added  in  proper  quantity,  the  paste, 
instead  of  black,  is  of  a dirty  olive  green.  If  the  proportion  of 
nitrat  of  iron  be  greater  than  one-eighteenth,  this  change  will 
be  effected  sooner;  and  if  so  high  as  one-tenth,  the  paste,  when 
applied  to  the  cloth,  will  be  a bright  orange,  like  the  acetite  of 
iron.  By  exposure  to  heat  and  air,  this  colour  generally  deepens, 
becomes  gray,  and  at  last  a full  black.  In  this  state  it  is  perma- 


408 


nent,  and  adheres  powerfully  to  the  cloth.  These  changes  of  co- 
lour depend  on  the  tannat  and  gallat  of  iron  in  the  disengaged 
nitrons  acidj  and  the  evaporation  of  the  acid  when  exposed  to 
heat  and  air  on  the  cloth.  This  solution  of  the  tannat  and  gallat 
of  iron  is  indeed  an  essential  requisite  in  the  goodness  of  the 
chemical  black.  If  the  disengaged  acid  is  not  sufficient  to  effect 
this,  or  if  it  is  in  too  great  a state  of  dilution,  the  colour  has  but 
a feeble  adherence  to  the  cloth;  it  is  not  presented  in  a state  fa- 
vourable to  its  union  with  it,  since  the  combination  into  which 
the  iron  has  entered  is  insoluble  in  water.  It  lies  merely  on  the 
surface,  but  does  not  penetrate  its  fibres,  and  yields  readily  in  the 
various  operations  to  which  it  is  subjected.  The  chemical  black, 
therefore,  of  the  first  example  is  a solution  of  the  tannat  and 
gallat  of  iron  in  nitrous  acid. 

“ The  black  of  the  second,  but  more  particularly  of  the  third 
example,  differs  from  the  preceding  in  the  circumstance  of  the 
iron  in  the  solution  being  in  a less  oxygenated  state.  We  may 
consider  this  black  in  its  recent  state  as  a mixed  solution  of  green 
sulphat  of  iron,  and  gallic  acid,  and  tannin  principle;  for  the 
decomposition  of  the  sulphat  is  not  complete  till  by  exposure  to 
air  on  the  cloth  the  iron  becomes  fully  oxygenated.  When  this 
black  is  recently  applied  to  the  cloth,  it  is  of  a pale  grayish  co- 
lour, has  little  fixity,  simple  rincing  in  cold  water  being  sufficient 
to  fetch  nearly  the  whole  away.  By  gradually  absorbing  oxygen, 
it  becomes  deeper,  and  at  last  black.  The  sulphuric  acid  has  no 
longer  any  action  on  it,  and  is  removed  in  the  first  operation  in 
which  it  is  immersed  in  water. 

“ The  decoction  of  galls  used  for  chemical  black  is  variously 
prepared.  Many  callicoe  printers  infuse  the  galls  cold  in  casks 
of  vinegar,  or  pyroligneous  acid,  suffering  them  to  remain  seve- 
ral months,  occasionally  drawing  off  the  lower  part,  and  return- 
ing it  on  the  galls.  Others  steep  them  in  urine.  Both  these 
modes  are  vicious,  particularly  the  last.  Simple  boiling  in  water, 
till  all  the  soluble  matter  is  extracted,  is  sufficient,  taking  care  to 
inclose  the  galls  in  a sack,  that  when  soft  they  may  not  render 
the  decoction  thick. 

“ Gray. 

“ By  diluting  the  chemical  black  of  the  first  example  with 
once,  twice,  thrice,  &c.  its  bulk  of  water,  and  thickening  the  so- 
lution with  gum,  various  shades  of  gray  are  obtained,  which 


409 


require  rincini^  off  in  water  only,  and  the  deeper  shades  of  which 
have  tolerable  permanence. 

“ The  theory  of  these  mixtures  is  the  same  as  of  the  black, 
from  whence  they  are  derived.  On  the  addition  of  water  to  the 
olive-green  solution,  mentioned  in  the  preceding  article,  the  co- 
lour instantly  becomes  deep  purple,  approaching  to  black.  This 
is  occasioned  by  the  dilution  of  the  free  acid,  which  being  no  lon- 
ger able  to  hold  the  tannat  and  gallat  of  iron  in  solution,  sets 
part  of  it  at  liberty,  which  instantly  regains  its  colour.  For  the 
reason  already  assigned,  this  has  less  adherence  to  cloth  than 
that  in  which  the  solution  is  more  perfect.  The  addition  of  a 
small  quantity  of  nitrous  acid  effects  this.  The  olive-green  colou^ 
of  the  solution  is  restored,  which,  by  exposure  to  the  air,  and 
consequent  evaporation  of  the  acid,  disappears,  and  leaves  the 
tannat  and  gallat  of  iron  more  firmly  fixed  on  the  cloth.  The 
complete  precipitation  of  the  combination  is  afterwards  effected 
in  the  operation  of  rincing  off  in  water. 

“ Yellonv, 

“ The  false  or  chemical  yellows  are  generally  prepared  with 
decoctions  of  French  or  Turkey  berries,  and  sometimes  with 
quercitron  bark.  The  latter  substance  produces  pale  yellows  or 
straw  colour,  but  does  not  afford  the  deep  bright  orange  yellow 
of  the  berries.  Dr.  Bancroft,  to  whom  the  public  is  indebted  for 
the  introduction  and  knowledge  of  this  most  useful  dyeing  drug, 
indeed,  asserts  the  contrary  in  his  work  on  “ Permanent  Colours;” 
and  has  given  a receipt  for  the  bark-yellow,  which  has,  however, 
never  succeeded  in  our  hands. 

“ Berry  yellow.  Boil  two  pounds  of  good  berries,  slightly  bruised, 
in  a gallon  of  water  during  three  hours,  taking  care  to  replace, 
from  time  to  time,  the  evaporated  water  with  liquor  obtained 
from  the  second  boiling  of  a former  quantity  of  berries.  When 
the  li(juor  is  cool,  add  to  it  eight  ounces  of  alum,  and  if  it  is  in- 
tended for  the  block  thicken  it  w ith  flour.  If  it  is  meant  for  those 
small  objects  in  printed  goods,  which  are  generally  touched  with 
the  pencil,  two  ounces  of  sugar  of  lead  should  be  added  with  the 
alum,  and  the  colour  thickened  with  gum  dragon.  This  yellow 
is  generally  passed  through  lime  water  as  the  first  part  of  the 
operation  of  rincing;  hy  this  means  the  greater  part  of  the  earth 
of  alum,  which  would  otherwise  have  been  carried  off  in  theope- 

3 F 


ration,  is  precipitated  on  the  cloth,  and  the  colour  considerably 
heightened. 

“ When  this  operation  of  liming  cannot  be  performed  without 
injury  to  some  other  colour,  a greater  proportion  of  sugar  of  lead 
should  be  added.  This  decomposes  the  alum,  and  forms  an  ace- 
tite  of  alumine,  which  being  more  readily  decomposed  by  the 
colouring  matter  and  the  cotton  than  sulphat  of  alumine,  does 
not  require  the  assistance  of  an  alkaline  solution  to  precipitate  it 
on  the  cloth. 

“ The  proportion  of  berries  above  directed  is  for  a full  yellow; 
one-fourth  or  one-third  less  will  form,  with  the  same  quantities 
<sf  salts,  yellows  of  great  brightness.  Some  callicoe  printers  add 
a small  quantity  of  nitrat  of  copper  to  the  yellows  intended  to  be 
simply  rinced  off  without  liming.  This  heightens  the  colour,  but 
what  is  gained  in  intensity  is  lost  in  brightness;  for  if  the  solu- 
tion of  copper  be  added  in  sufficient  quantity  to  produce  any 
very  perceptible  effort,  it  imparts  a dulness  to  the  hue  which  is 
very  detrimental.  This  is  the  invariable  effect  of  copper  in  any 
shape,  whether  the  acetite,  sulphat,  or  nitrat  of  copper  be  em- 
ployed. 

“ Bark-yellow.  For  a lemon  or  straw  colour,  it  will  be  suffi- 
cient to  make  a decoction  of  bark  by  boiling  from  four  to  six 
pounds  in  as  much  water  as  is  necessary  during  two  hours,  and 
after  evaporating  down  the  decoction  to  one  gallon,  add  to  it  two 
ounces  of  sugar  of  lead,  and  eight  ounces  of  alum.  If  not  limed, 
the  proportion  of  sugar  of  lead  should  be  doubled.  For  strong 
yellows.  Dr.  Bancroft  directs  the  addition  of  both  nitrat  of  copper 
and  nitrat  of  lime  in  quantities  so  great,  as  near  seven  ounces  of 
the  former  to  a gallon  of  colour.  Experience,  however,  though 
it  has  done  justice  to  the  merits  of  Dr.  Bancroft’s  discovery  of 
the  use  of  quercitron  bark,  has  not  verified  the  expectations  he 
had  formed  of  it  as  a substitute  for  the  Turkey  berries  in  the 
topical  or  chemical  yellow. 

“ The  constitution  of  these  colours,  whether  formed  with  the 
sulphat  and  acetite  of  alumine,  or  with  the  solutions  of  copper  is 
the  same.  Alumine,  or  the  earth  of  alum,  and  the  oxyd  of  cop- 
per, have  an  affinity  both  for  colouring  matter  and  vegetable 
fibre.  They  form  the  connecting  link  between  these  substances, 
which  would  otherwise  contract  a feeble  union.  When  a solu- 
tion of  alum  is  added  to  a decoction  of  berries  or  of  bark,  a slight 


411 


precipitation  takes  place  by  the  union  of  a portion  of  colouring 
matter  with  the  earth;  the  greater  part  however  remains  sus- 
pended or  held  in  solution  by  the  acid  of  the  alum.  When  applied 
to  the  cloth  the  farther  decomposition  of  the  salt  is  aided  by  the 
affinity  of  this  substance  for  alumine,  and,  when  the  acid  is  vola- 
tile, as  the  acetous  for  example,  by  its  consequent  evaporation. 
The  same  takes  place  with  the  solutions  of  copper.  The  opera- 
tion of  rincing  farther  aids  the  precipitation  of  the  colouring 
matter  and  alumine,  by  thus  largely  diluting  with  water;  and 
lastly,  when  the  goods  are  previously  passed  through  the  lime 
tube,  the  decomposition  is  complete,  the  last  portions  of  earth 
or  oxyd  are  precipitated,  and  the  colour  thereby  considerably 
exalted. 

“ The  solutions  of  tin  are  capable  of  forming  very  bright  and 
beautiful  yellows,  with  decoctions  of  different  yellow  colour- 
ing substances;  but  the  excess  of  acid  which  these  solutions 
necessarily  contain,  and  their  powerful  action  on  the  cloth,  ren- 
ders their  application  less  general  than  the  preceding.  The 
solution  of  tin  most  proper  for  yellows  is  the  muriatic,  and  is 
formed  by  digesting,  in  a low  heat  for  several  days,  the  common 
muriatic  acid,  or  spirits  of  salt,  on  fine  grain  tin.  This  solution 
forms,  with  bark,  a pale  and  lively  yellow,  and  with  berries  a yel- 
low bordering  more  on  orange.  These  spirit  yellows,  however, 
as  they  are  improperly  called,  are  seldom  used  except  upon  dyed 
grounds,  and  of  this  preparation  for  such  purposes  we  shall  treat 
at  large  under  the  head  of  Discharged  Work. 

“ Blue. 

“ The  only  bhve  belonging  to  this  class  is  that  produced  by 
combining  the  colouring  matter  of  logwood  with  the  oxyd  of 
copper.  It  is  but  seldom  used  since  the  mode  of  dipping  China 
blue  has  become  generally  known;  and  indeed  its  want  of  dura- 
bility renders  it  of  little  value.  It  may  be  produced  by  combin- 
ing almost  any  of  the  solutions  of  copper  with  a decoction  of 
logwood. 

“ 1.  Boil  two  pounds  of  logwood  in  a gallon  of  water,  and  to 
the  decoction,  thickened  with  gum,  add  eight  ounces  of  sulphat 
of  copper. 

“ 2.  To  a decoction  of  logwood  as  above,  add  two  ounces  of 
sulphat  of  copper,  and  two  ounces  of  verdigris. 


412 


“Their  colours  may  either  be  rinced  off  or  limed,  as  best 
suits  the  style  of  work.  The  theory  of  these  combinations  is  the 
same  as  the  preceding. 

“ Green. 

“ The  chemical  or  false  green  is  a compound  colour,  and  con- 
sists of  a mixed  decoction  ot  logwood  and  berries,  or  bark,  and 
a solution  of  copper.  Though  fugitive,  its  use  is  in  some  degree 
authorized  by  the  impossibility  of  obtaining  a green  of  greater 
durability  that  can  be  applied  in  figures  with  the  block.  The 
fast  green  of  the  callicoe  printers  is  the  product  of  two  operations, 
and  is  of  course  limited  in  its  application,  and  tedious  in  its  use. 
The  production  of  a fast  green  at  one  operation,  or  rather  by  one 
application  to  the  cloth,  either  with  the  pencil,  block,  or  press, 
is  one  of  the  great  desiderata  of  callicoe  printing. 

“ 1.  One  pound  of  logwood  and  two  pounds  of  berries  boiled 
together  during  two  hours,  and  strained  whilst  hot  upon  two 
ounces  of  sulphat  of  copper,  and  two  ounces  of  verdigris,  and 
thickened  with  gum,  form  a good  and  lively  green,  the  hue  of 
which  may  be  varied  at  pleasure  by  the  increase  or  diminution  of 
the  proportion  of  logwood.  I'o  this  some  callicoe  printers  add  two 
ounces  of  common  salt,  and  two  ounces  of  sal  enixon  or  acidulous 
sulphat  of  potash. 

“ 2.  To  one  measure  of  blue  of  the  first  example  in  the  pre- 
ceding article,  add  two,  three,  four,  &c.  measures  of  a decoction 
of  bark,  made  by  boiling  six  pounds  as  before  directed  for  the 
yellow,  and  to  which,  when  reduced  to  one  gallon,  two  ounces  of 
sulphat  of  copper,  and  two  ounces  of  verdigris  have  been  added. 
The  tone  of  the  green  depending  on  the  relative  proportions  of 
blue  and  yellow,  it  is,  in  general,  best  to  keep  the  two  decoctions 
separate,  to  be  mixed,  when  wanted,  in  such  proportions  as  may 
best  suit  the  purpose  required.  The  theory  of  these  mixtures  is 
the  same  as  of  the  blue  and  yehow  already  described.  To  the  eye 
of  the  mere  speculative  chemist,  the  addition  of  common  salt  and 
acidulous  sulphat  of  potash  in  the  first  example,  may  appear  un- 
necessary and  unmeaning.  They  indeed  affect  little,  either  the 
hue  or  fixity  of  the  colour,  but  experience  has  proved  that  this 
addition  facilitates  its  working  with  the  block,  more  especially 
when  thickened  with  gum  dragon.  The  cause  of  this  in  the  par- 
ticular instance  before  us,  is  perhaps  not  very  clear.  The  sul- 
phuric salts  in  general,  such  as  the  sulphats  of  alumine,  iron, 


413 


and  copper,  are  all  unfavourable  to  working,  as  their  solutions, 
especially  when  concentrated,  neither  thicken  well  with  flour 
nor  gum.  A saturated  solution  of  copperas  cannot  be  thickened 
with  flour,  nor  can  a strong  solution  of  the  aceto-sulphat  ot  alu- 
mine,  in  which  the  alum  is  in  great  excess;  even  with  gum  it 
unites  with  difficulty.  But  if  to  a solution  of  copperas,  which  re- 
fuses to  form  a paste  with  flour,  a small  portion  of  nitrat  of  iron 
be  added,  the  whole  forms  a good  and  substantial  paste  that  works 
admirably  with  the  block;  and  half  a pound  of  common  salt  added 
to  the  aceto-sulphat  of  alumine,  has  a similar  effect.  In  the  in- 
stance more  particularly  before  us,  the  addition  of  common  salt 
forms  amuriat  of  copper  by  the  decomposition  of  the  sulphat;  but 
this  last  is  in  too  small  a quantity  to  affect  the  working  of  the 
colour  very  sensibly.  The  cause  of  these  effects  is  to  be  sought 
for  in  the  very  complicated  play  of  affinities,  which  exist  in  such 
compounds,  and  which  future  investigation  and  disco  ery  may 
perhaps  unfold.  The  speculative  philosopher,  who  is  ignorant  of 
the  minute  details  of  an  art,  that  involves  in  it  considerations  and 
difficulties,  unsuspected  in  the  laboratory,  will  hence  learn  to  sus- 
pend his  judgment  in  deciding  on  the  merits  of  a formula,  till 
experience  shall  have  proved  the  inutility  of  those  ingredients 
which  theory  would  reject  as  absorb. 

“ But  to  return  to  our  subject:  there  is  a wide  field  open  for 
experiment  and  discovery  in  the  production  of  greens,  into  which 
logwood  does  not  enter.  A callicoe  printer  near  London,  cele- 
brated for  his  ingenuity  and  invention  in  colours  of  this  class, 
has  long  employed  a green  which,  from  its  beauty  and  durability, 
when  compared  with  the  foregoing  colours,  indicate  the  presence 
of  indigo  as  a constituent  part.  Prussian  blue  in  a minutely  di- 
vided state,  and  mixed  with  bark  or  berry-yellow,  has  been  em- 
ployed: but  the  blue  in  this  case  has  so  little  adherence  to  the 
cloth,  that  mere  mechanical  force,  the  operation  of  rincing  and 
washing  is  sufficient  to  disengage  it.  With  one  or  other  of  these 
substances,  however,  it  is  likely  that  greens  much  superior  in 
beauty,  and  probably  also  in  durability  to  those  generally  in  use, 
might,  by  a series  of  patient  and  well  conducted  experiments, 
be  readily  obtained. 

“ Pink. 

“ The  pale,  and  more  delicate  shades  of  red,  belonging  to  this 
class,  are  chiefly  sought  after  in  callicoe  printing.  They  are  em- 


414 


ployed  in  giving  relief  or  effect  to  other  admixtures  of  a more 
sober  cast,  and  all  the  skill  of  the  colour-maker  is  exerted  in  giv- 
ing them  brilliancy  and  richness  of  tint.  They  are  chiefly  pro- 
duced from  decoctions  of  brazil,  nicaragua,  or  peach  wood,  and 
cochineal,  raised  and  fixed  on  the  cloth  with  solutions  of  tin, 
rarely  with  the  aluminous  mordants,  though  delicate  and  lively 
colours  may  be  produced  this  way. 

“ The  nitro-muriat  of  tin  is  chiefly  employed,  though  the  rela- 
tive proportion  of  the  two  acids,  and  their  degree  of  saturation 
with  tin,  varies  almost  with  every  callicoe  printer.  The  solution 
itself,  made  according  to  established  rule,  and  with  the  same 
properties,  varies  so  considerably  at  different  times,  as  wholly  to 
alter  the  nature  of  its  compounds,  without  any  apparent  cause  of 
failure.  The  source  of  this  discordance  is  to  be  sought  for  in  the 
constitution  of  the  solution  itself,  which  from  causes  that  we  shall 
endeavour  to  explain,  is  subject  to  considerable  variation. 

“ First,  from  the  strength  or  concentration  of  the  acids  em- 
ployed, which  are  seldom  uniform  or  constant;  muriatic  acid 
from  the  same  manufacturer  varying  often  in  specific  gravity 
from  1.12  to  1.18,  and  nitrous  acid  not  less  than  from  1.15  to 
1.2  3,  without  reference  to  the  common  distinction  of  single  and 
double  aqua  fortis. 

“ When  the  specific  gravity  of  the  acids  rs  neglected,  as  is  but 
too  generally  the  case,  these  differences  occasion  serious  incon- 
veniences in  the  use  of  solutions,  whose  properties  often  depend 
on  the  accuracy  of  their  proportions,  and  on  determinate  degrees 
of  saturation. 

“ Secondly,  from  the  impurity  of  the  acids.  The  muriatic  acid 
of  commerce  always  contains  iron  and  sulphuric  acid;  if  the  for- 
mer exist  in  any  notable  proportion,  it  is  unfit  for  the  solution  of 
tin;  the  presence  of  the  latter  is  of  less  importance,  though,  on 
the  whole,  unfavourable  to  delicate  colours.  The  nitrous  acid 
varies  considerably  in  its  purity,  being  subject  to  greater  or  less 
admixture  with  the  muriatic;  the  nitre  it  is  made  from  being 
seldom  free  from  marine  salt.  The  aqua  fortis  of  commerce  is, 
in  fact,  an  aqua  regia.  This  variation  of  the  proportion  of  mu- 
riatic acid  in  the  nitrous,  is  of  the  utmost  importance,  since  the 
properties  of  the  solution  eminently  depend  upon  this.  With  mu- 
riatic acid  only,  tin  forms  a colourless  and  permanent  solution,  one 
of  whose  distinguishing  properties  is,  its  strong  affinity  or  attrae- 


415 


tion  for  oxygen.  With  decoction  of  cochineal,  it  forms  a deep  and 
dull  purple-coloured  precipitate,  which,  however,  gradually  ab- 
sorbs oxygen,  and  becomes  crimson,  especially  when  exposed  on 
the  filter.  With  decoctions  of  brazil  and  peach  wood,  it  affords 
crimson  precipitates,  varying  in  intensity  with  their  saturation 
with  tin.  It  decomposes  all  the  combinations  of  iron  with  colouring 
matter,  deoxygenating  the  iron  which  it  carries  off,  leaving  the 
tin  in  combination  with  the  colouring  matter.  Thus  a madder 
black  becomes  a red  on  the  application  of  muriat  of  tin.  On  this 
property  is  founded  the  art  of  printing  on  dyed  grounds,  of  which 
we  shall  treat  hereafter.  With  nitrous  acid,  unless  very  dilute, 
tin  contracts  a very  feeble  union,  and  is  generally  precipitated 
as  soon  as  dissolved,  in  a state  fully  saturated  with  oxygen.  The 
addition  of  a small  quantity  of  muriatic  acid  renders  this  solution 
more  permanent,  provided  it  be  not  fully  saturated  with  tin,  and 
the  addition  of  larger  portions  approximates  the  solution  still 
more  to  the  nature  of  the  former,  and  renders  it  capable  of  sup- 
porting a greater  degree  of  saturation.  The  properties  of  the 
solution  depend  greatly  on  the  proportion  of  muriatic  acid,  and 
consequently  of  muriat  of  tin  contained  in  it.  When  small,  the 
precipitate  with  cochineal  is  bright  carmine  scarlet.  It  does  not 
decompose  the  combinations  of  iron  with  colouring  matter,  un- 
less the  solution  be  far  from  saturation,  and  this  effect  is  then  due 
to  the  disengaged  acid  only. 

“ The  purity  of  the  tin  is  another  requisite  which  should  be 
carefully  attended  to.  The  fine  tin  of  Cornwall,  commonly  called 
grain  tin,  should  be  employed.  If  alloyed  with  lead,  it  is  wholly 
unfit  for  these  purposes. 

“ In  lieu  of  muriatic  acid,  sal  ammoniac  and  common  salt  are 
oftentimes  employed  to  form  an  aqua  regia  with  nitrous  acid. 
The  solution  differs  little  from  that  formed  by  a mixture  of  the 
,two  acids,  the  allowance  being  made  by  the  portion  neutralized 
by  the  alkali  of  the  neutral  salt. 

“ From  this  short  outline  of  the  history  of  the  substances  em- 
ployed in  the  formation  of  the  solutions  of  tin,  and  of  the  properties 
of  the  solutions  themseves,  may  be  deduced  such  general  ideas 
as  will  elucidate  and  explain  many  anomalous  effects  in  their 
combinations  with  different  colouring  matters,  and  seem  to  direct 
future  experiment  in  the  discovery  of  those  minute,  but  often 
important,  conditions  necessary  to  the  formation  of  particular 
shades  of  colour. 


416 


“ The  following  examples  of  spirit  reds,  as  they  arc  impro- 
perly called  by  callicoe  printers,  will  illustrate  some  of  the 
preceding  observations,  and  may  be  considered  as  specimens  of 
the  most  beautiful  and  brilliatit  colours  it  is  possible  to  form  upon 
cotton. 

“ 1.  Prepare  an  aqua  regia  by  dissolving  two  ounces  of  sal 
ammoniac  in  one  pound  of  nitrous  acid  of  specific  gravity  1.25. 
To  this  add  two  ounces  of  fine  grain  tin;  decant  it  carefully  off 
the  sediment,  and  dilute  it  with  one-fourth  its  weight  of  pure  or 
distilled  water. 

“ To  one  gallon  of  water  add  one  pound  of  cochineal,  ground 
as  fine  as  flour;  boil  half  an  hour;  then  add  two  ounces  of  finely 
pulverized  gum  dragon,  and  two  ounces  of  cream  of  tartar,  and 
stir  till  the  whole  is  dissolved.  When  the  liquor  is  cool,  add  one 
measure  of  the  preceding  solution  of  tin,  to  two  of  the  cochineal 
liquor,  and  incorporate  well  by  stirring.  Apply  this  with  the  pen- 
cil or  block,  suffer  it  to  remain  in  the  cloth  six  or  eight  hours, 
then  rince  off  in  spring  water.  This  colour  will  be  a bright  and 
beautiful  scarlet. 

“2.  Boil  twelve  pounds  of  brazil  chips  during  an  hour  in  as 
much  water  as  will  cover  them.  Draw  off  the  decoction,  and 
pour  on  fresh  water,  and  boil  as  before.  Add  the  two  liquors  to- 
gether, and  evaporate  slowly  down  to  one  gallon.  To  the  decoc- 
tion whilst  warm  add  four  ounces  of  sal  ammoniac,  and  as  much 
gum  dragon  or  Senegal  as  will  thicken  it  for  the  work  retpiired. 
When  cool,  add  one  of  the  solution  of  tin  before  described,  to 
four,  six,  or  eight  of  the  brazil  liquor,  according  to  the  colour 
wanted.  Suffer  it  to  remain  from  eighteen  to  twenty-four  hours 
on  the  cloth,  then  rince  oft’  in  spring  water  as  before.  The  colour 
will  be  a pale  and  delicate  pink.  If  it  is  required  deeper,  the  de- 
coction must  be  made  stronger,  and  used  in  the  proportion  of 
three  or  four  to  one  of  the  solution  of  tin.  Nicaragua  or  peach 
wood,  though  not  so  rich  in  colouring  matter  as  brazil,  yields  a 
colour,  however,  which  is,  if  possible,  more  delicate  and  beauti- 
ful. The  fine  pinks  produced  by  certain  houses,  which  have  for 
years  been  the  envy  and  admiration  of  the  trade,  are  afforded  by 
this  fine  dye-w'ood. 

“ These  colours  require  no  liming,  simple  affusion  with  water 
being  sufficient  to  precipitate  the  colouring  matter  in  combina- 
tion with  the  tin.  The  theory  of  these  mixtures  is  the  same  as 


417 


the  preceding.  They  require,  however,  a greater  excess  of  acid 
to  hold  the  colouring  matter  in  solution.  A decoction  of  cochineal 
poured  into  a saturated  solution  of  tin,  occasions  an  instant  pre- 
cipitate which  is  not  redissolved,  and  the  greater  part  of  which, 
if  applied  to  cloth,  would  come  off  in  the  operation  of  rincing.  It 
is  sometimes  necessary  to  add  a small  quantity  of  muriatic  acid 
to  prevent  this  precipitation,  or  to  correct  it  when  it  happens, 
and  sal  ammoniac  is  supposed  to  have  the  same  effect,  probably 
by  engaging  the  water  of  the  solution. 

“ With  the  aluminous  salts,  the  decoction  of  cochineal  and 
brazil  forms  colours  less  brilliant  than  those  we  have  just  de- 
scribed, but  which  are  applicable  in  cases  where  the  excess  of 
acid  in  the  solutions  of  tin  is  attended  with  inconvenience. 

“ 1.  To  one  gallon  of  water,  add  eight  ounces  of  finely  ground 
cochineal,  and  two  ounces  of  bruised  galls;  boil  half  an  hour, 
strain  the  liquor  whilst  hot  through  a fine  cloth,  upon  four 
ounces  of  cream  of  tartar  and  four  ounces  of  gum,  and  thickeii^ 
with  gum  dragon.  This  colour  requires  liming. 

“ 2.  Upon  six  pounds  of  brazil  and  two  ounces  of  galls,  pour 
one  gallon  of  water,  let  them  soak  some  time,  then  boil  two 
hours,  replacing  the  evaporated  liquor  with  fresh  water.  Sti’ain 
through  a fine  cloth  upon  four  pounds  of  gum  Senegal,  and  add 
one  pint  of  the  acetite  of  alumine,  described  in  a foripner  part  of 
this  article. 

‘‘  The  addition  of  galls  in  the  two  preceding  formulae,  is  sup- 
posed to  impart  solidity  to  the  colours  in  some  way  analogous  to 
the  operation  of  galling  in  silk  and  cotton  dyeing,  of  which  we 
shall  have  occasion  to  speak  hereafter.  Their  constitution  is 
otherwise  the  same  as  the  berry  and  bark  yellows,  and  most 
others  of  this  class  of  colours. 

“ Purple. 

“ 1 . If  the  solution  of  tin  directed  for  the  pink  in  the  last  arti- 
cle be  mixed  with  six  times  its  bulk  of  a decoction  of  logwood, 
poured  whilst  hot  upon  four  ounces  of  sal  ammoniac,  and  two 
and  a half  pounds  gum  Senegal,  a bright  and  lively  purple  will 
be  obtained,  the  hue  of  which  varies  with  the  strength  of  the  de- 
coction and  the  proportion  of  solution  of  tin  employed. 

“ 2.  If  instead  of  the  solution  of  tin,  the  acetite  of  alumine 
before  alluded  to,  be  used  in  various  proportions  of  one-sixth, 

3G 


418 


eighth,  8cc.  purples  differing  in  shade  and  intensity  will  be  form* 
ed,  applicable  in  some  cases,  but  possessing  less  solidity  than 
most  of  the  colours  already  described. 

“ The  constitution  of  these  compounds  is  the  same  as  the 
preceding. 

“ Olive. 

“ Olives  are  variously  compounded,  according  to  the  colour 
required. 

“1.  By  mixing  chemical  black  in  various  proportions  with 
berry  or  bark  yellow.  The  depth  and  fulness  of  the  olive  depends 
on  the  quantity  of  black. 

“ 2.  By  a decoction  of  logwood  added  in  greater  or  less  quan- 
tity to  the  bark  or  berry  yellow. 

“ 3.  By  the  addition  of  copperas  or  nitrat  of  iron  to  decoctions 
of  yellow  or  astringent  colouring  matters,  such  as  bark,  sumach, 
berries,  weld,  &c.  each  of  these  produces  a different  hue,  varying 
from  the  green  olive  to  a drab  or  cloth  colour.  By  mixing  these 
decoctions  in  different  proportions,  and  by  varying  their  strength, 
and  the  quantities  of  copperas  or  nitrat  of  iron  added  to  each,  a 
multiplicity  of  shades  may  be  produced,  of  which  it  is  impossible 
to  convey  any  precise  or  definite  ideas. 

“ These  colours  may  be  indifferently  thickened  with  flour  or 
gum,  as  best  suits  the  work  required,  but  when  nitrat  of  iron  is 
added  to  solutions  containing  gum,  the  instant  coagulation  that 
takes  place  must  be  counteracted  by  the  addition  of  a portion  of 
free  nitrous  acid.  This  effect  arises  from  the  strong  action  exerted 
by  metallic  oxyds,  at  the  maximum  of  oxydation,  on  mucilage  or 
gum.  When  the  decoction  is  very  concentrated,  and  contains 
sufficient  colouring  matter  to  engage  the  whole  of  the  iron,  this 
effect  takes  place  in  a less  degree,  but  with  solutions  adapted  to 
the  production  of  the  foregoing  colours,  a coagulation  invariably 
takes  place,  unless  counteracted  by  the  presence  of  a portion  of 
free  acid.  Of  this  action  of  metallic  oxyds  on  the  solution  of  gum 
we  shall  further  treat  under  the  article  Gum. 

CLASS  III. 

“ In  this  class,  the  colouring  matter  is  simply  held  in  solution, 
by  an  acid  or  alkali,  and  in  that  state  applied  to  the  cloth  without 
the  intervention  of  any  mordant. 

“ The  most  important  of  these  colours,  is  the  alkaline  solution 
of  indigo  which  forms  the  topical  or 


419 


“ Pencil  Blue. 

“ 1 . Prepare  a solution  of  potash,  by  boiling  together  seven  and 
a half  pounds  of  quick  lime,  and  fifteen  pounds  of  potash,  in  ten 
gallons  of  water.  Decant  off  the  clear  liquor,  and  separate  the  re»- 
mainder  from  the  lime  by  means  of  the  filter.  To  one  gallon  of 
this  solution,  add  one  pound  of  red  arsenic,  or  orpiment,  and  one 
pound  of  fine  indigo,  both  previously  ground  together  in  a mill 
with  sufficient  water  to  form  a thick  paste.  Bring  them  gradually 
to  a boil,  stirring  carefully  all  the  time,  and  then  withdraw  the 
fire.  Thicken  the  solution  with  the  best  gum  Senegal,  and  for 
the  pale  shades  of  blue,  dilute  with  one,  two,  &c.  measures  of 
gum-water. 

“The  quantities  and  relative  proportions  of  potash,  orpiment, 
and  indigo  in  a gallon  of  pencil  blue  vary  considerably  with  dif- 
ferent callicoe  printers,  and  within  certain  limits,  it  appears,  that 
the  accuracy  of  these  proportions  is  not  of  great  importance. 
Haussman,  an  intelligent  French  printer,  employs  fifteen  pounds 
of  potash,  six  pounds  of  orpiment,  and  eight  pounds  of  indigo,  to 
twelve  gallons  of  water;  and  Oberkampf,  proprietor  of  the  cele- 
brated manufactory  of  Tony,  a still  greater  proportion  of  indigo. 
Some  printers  add  brown  sugar,  and  Bancroft  has  proposed  to 
substitute  this  for  the  orpiment,  but  without  success. 

“ The  solution,  when  recently  made,  is  a yellowish  green,  but 
by  exposure  to  air,  becomes  gradually  deeper,  and  at  last  blue. 
In  this  state,  it  is  wholly  unfit  for  use,  it  contracts  no  union  with 
the  cloth,  and  is  detached  from  ‘it  in  the  first  operation  of 
rincing. 

“ Of  the  peculiar  nature  and  properties  of  indigo,  we  shall 
have  occasion  to  treat  hereafter,  under  its  proper  head;  at  pre- 
sent it  will  suffice  to  observe,  that  it  owes  its  colour  and  insolu- 
bility in  alkalies,  to  a portion  of  oxygen  intimately  combined  with 
' it.  To  render  it  soluble,  therefore,  it  must  be  deprived  of  this 
oxygen,  by  the  action  of  a substance  having  a more  powerful 
affinity  for  it,  and  the  sulphuret  of  arsenic,  or  orpiment,  is  used 
for  this  purpose.  Sulphat  of  iron  has  a strong  affinity  for  oxygen, 
and  is  employed  in  de-oxygenating  indigo  for  certain  purposes; 
but  the  oxyd  of  iron  not  being  soluble  in  alkalies,  the  solutions  of 
indigo,  formed  by  it,  become  quickly  regenerated  by  the  absorp- 
tion of  oxygen,  and  cannot  even  be  transferred  from  one  vessel  to 
another.  The  sulphuret  of  arsenic,  on  the  contrary,  being  very 


420 


soluble  in  alkalies,  presents  the  double  advantage  of  de-oxygeiiat- 
ing  the  indigo,  and  of  retaining  it  awhile  in  that  stale,  till  on  its 
application  to  cloth,  it  becomes  exposed  so  completely  to  the  ac- 
tion of  atmospheric  air,  as  to  regain  its  oxygen,  colour,  and  inso- 
lubility, and  becomes  fixed  in  its  original  or  blue  state. 

“ The  copper  coloured  pellicles,  which  forms  on  the  surface 
of  pencil  blue,  and  is  renewed  immediately  on  its  removal,  arises 
from  the  absorption  of  oxygen,  which,  in  spite  of  the  action  of 
the  orpiment,  is  continually  taking  place.  Hence  arises  that  dis- 
position to  unevenness,  which  is  the  great  disadvantage  of  this 
blue;  the  unavoidable  exposure  to  air  of  small  portions  of  the  co- 
lour during  its  application  with  the  pencil,  reviving  greater  or 
less  portions  of  indigo,  and  considerably  reducing  its  strength. 

“ Most  callicoe  printers  toil  up  the  quick  lime  with  the  other 
ingredients,  thinking  its  presence  not  less  necessary  than  the 
potash  and  orpiment;  by  this  means  a considerable  portion  of  the 
solution  of  indigo  is  taken  up  by  the  sediment,  which  careful 
washing  does  not  wholly  separate.  As  the  action  of  the  lime  is 
confined  merely  to  the  alkali,  which  it  renders  caustic,  and  capa- 
ble of  acting  with  greater  force  on  the  other  ingredients;  it  is 
certainly  much  more  economical  to  render  the  potash  caustic  be- 
fore its  addition  to  the  indigo.  A considerable  waste  of  colour  is 
by  this  means  prevented,  and  the  solution  may  be  thickened  the 
moment  the  ebullition  has  ceased  without  waiting  for  the  depo- 
sition, which  in  the  old  mode  takes  place. 

“ Orange. 

“ The  oxyd  of  iron,  when  dissolved  in  acetous  acid,  forms  one 
of  the  most  useful  and  important  mordants,  as  we  have  already 
shewn  in  the  former  part  of  this  article.  It  is  also  capable  of  im- 
parting a very  pleasing  and  permanent  colour  itself  to  cotton, 
when  applied  in  solutions  of  tolerable  strength  and  purity,  and 
forms  the  orange,  buff,  and  gold  colour  of  the  callicoe  printers. 

1.  The  solutions  of  iron  in  vinegar,  strengthened  by  the  ad- 
dition of  copperas  may  be  used,  but  the  purest  and  brightest  gold 
colours  are  obtained  from  copperas  and  sugar  of  lead,  in  the 
proportion  of  five  pounds  of  the  former,  and  one  pound  of  the 
latter,  to  a gallon  of  water.  When  thickened  with  gum,  and  em- 
ployed undiluted,  it  affords,  when  limed,  a full  strong  gold  colour, 
and  with  two,  four,  six,  &c.  times  its  bulk  of  water,  various 

A) 


421 


shades  of  orange  and  buff,  which  resist  the  action  of  air,  alkalies 
and  soap;  and  are  rather  exalted  than  impaired  by  frequent  wash- 
ing. The  addition  of  sugar  of  lead  is  to  increase  the  strength  of 
the  solution.  A gallon  of  water  dissolves  about  four  pounds  of 
copperas.  The  addition  of  a pound  of  sugar  of  lead,  enables  it  to 
take  up  another  pound  nearly,  and  the  strength  of  the  solution 
may  be  still  further  increased  by  equal  additions  of  the  two  salts. 
The  operation  of  liming  is  a simple  precipitation  of  the  oxyd  of 
iron  on  the  cloth,  and  in  cases  when  this  cannot  be  performed, 
the  proportions  of  sugar  of  lead  must  be  increased  to  nearly  that 
of  the  copperas.  It  is  only  the  paler  shades  of  orange,  however, 
which  are  to  be  obtained  this  way.  The  deep  gold  colour  before 
named,  is  not  to  be  procured  without  the  aid  of  a precipitant. 
Spanish  brown  is  sometimes  added  to  a solution  of  iron,  and 
employed  in  such  a case,  but  it  contracts  no  union  with  the  cloth, 
and  is  readily  removed  by  simple  washing  and  beating.  When 
the  orange,  or  gold  colour,  is  thickened  with  flour,  a small  por- 
tion of  nitrat  of  iron  must  be'  added  to  the  paste,  for  reasons  we 
have  assigned  on  a former  occasion. 

“ 2.  A beautiful,  but  fugitive  orange,  is  obtained  by  boiling 
half  a pound  of  annotta  with  one  pound  of  caustic  potash  in  a gal- 
lon of  water,  and  thickening  the  liquor  with  gum.  This  colour 
acts  powerfully  on  the  sieves  and  blocks,  which  it  very  soon  de- 
stroys, and  on  this  account,  and  also  from  its  want  of  permanence 
is  seldom  used.  It  may  either  be  simply  rinced  off,  or  first  passed 
through  water  slightly  acidulous  with  sulphuric  acid,  or  what  is 
still  better  through  alum  water.  This  operation  is  the  very  re- 
verse of  liming,  for  here  the  colouring  matter  to  be  precipitated, 
being  held  in  solution  by  an  alkali,  an  acid  must  be  employed  for 
that  purpose.  The  colour  by  this  means  is  considerably  heighten- 
ed, and  when  applied  with  the  pencil,  is  useful  in  some  cases 
where  the  other  colours  will  support  the  action  of  alum  water 
without  injury. 

“ Borax,  and  even  spirits  of  wine,  are  sometimes  added  to  the 
alkaline  solution  of  annotta,  and  are  supposed  to  contribute  to  its 
strength  and  fixity,  though  on  what  principle  is  not  easy  to 
discover. 

“ Green. 

“ The  oxyd  of  copper,  dissolved  in  volatile  alkali,  affords  a pale 
and  delicate  green,  which  is  sometimes  employed  intermixed  with 


422 


other  colours.  Turnings  of  copper,  or  verdigris,  which  is  more 
generally  used,  may  be  digested  in  a low  heat  with  spirits  of  sal 
ammoniac.  Care  must  be  taken  that  the  heat  be  very  moderate, 
and  the  vessel  in  which  the  solution  is  made,  well  stopped,  the 
ammoniac  will  otherwise  be  driven  off,  and  lost.  When  the  alkali 
has  taken  up  as  much  copper  as  it  can  dissolve,  the  solution 
must  be  thickened  with  gum,  and  applied  with  the  block  or 
pencil.  In  a few  days  the  ammoniac  evaporates  and  leaves  the 
oxyd  of  copper  on  the  cloth,  which  must  be  rinced  to  free  it  from 
the  gum  and  superfluous  colour. 

“ The  blues  produced  by  alternate  immersion  in  copperas  and 
lime,  and  also  in  the  solution  of  indigo,  by  the  same  substances, 
properly  come  under  this  class  of  colour,  as  they  are  solutions  of 
colouringjmatter  in  lime  and  alkalies.  As  the  processes  by  which 
they  are  applied,  differ  however  very  materially  from  all  those 
that  we  have  been  treating  of,  they  claim  a separate  and  distinct 
notice.  For  the  details  of  these  operations,  and  the  mode  of  pre- 
paring the  pastes  for  bark  and  pale  blue  dipping,  and  the  colours 
for  China  blue,  we  must  therefore  refer  our  readers  to  the  article 
Dififiing  Blue." 

Of  printing  by  discharging  colours  already  dyed, 
I have  already  mentioned  the  method  of  producing  a 
pattern  by  protecting  the  part  intended  to  be  a pattern, 
by  printing  a paste  or  reserve  upon  it.  Thus,  one 
sees  frequently  not  only  blue  and  white,  but  green 
and  white  cloths,  and  green  grounds  with  yellow  pat- 
terns. In  this  case  the  cloth  is  dyed  blue  in  the  vat, 
with  a reserve  or  paste  on  the  pattern,  which  is  wash- 
ed off:  the  whole  cloth  is  then  dyed  yellow.  Or,  the 
common  red  colour  can  be  printed  on  the  white  pat- 
tern when  the  paste  is  washed  off,  and  then  the  whole 
piece  can  be^dyed  yellow,  which  will  permanently 
strike  on  the  mordanted  part  only,  and  then  the  pat- 
tern will  be  blue  and  yellow. 

Another  method  is  by  discharging  the  colour  al- 


, ready  dyed,  by  means  of  some  acid  liquor.  Thus,  if 
: black  raised  in  madder  be  sprinkled  with  nitro-muriat 
; of  tin,  a red  colour  will  be  produced  in  spots  where 
I the  tin  solution  falls.  In  this  way,  by  means  of  my 
) pink-red  with  brazil  lake  dissolved  in  a nitro-muriat 
I of  tin,  a good  chemical  red  may  be  produced  on  a 
I madder  black. 

A method  of  printing  spots,  or  rather  producing 
spots  by  a discharging  liquor  on  Bandana  handker- 
chiefs previously  dyed  of  a Turkey  red,  has  lately 
been  introduced.  A partial  account  of  this  process  is 
given  under  the  article  “discharging,”  in  the  new 
edition  of  Rees’s  Cyclopaedia,  but  as  I cannot  find 
the  plate  of  the  machinery  published  as  yet,  instead  of 
copying  the  article  I shall  only  refer  to  it.  The  prin- 
ciple is  to  apply  a paste  of  oxymuriat  of  lime  to  the 
spot  meant  to  be  discharged,  to  decompose  the  oxy- 
muriat by  means  of  sulphuric  acid,  and  to  confine  the 
operation  by  means  of  a screw  press,  precisely  within 
the  bounds  of  the  pattern.  This  process  might  be  ap- 
plied to  blues,  and  supersede  paste  work;  and  also  to 
patterns  on  yellow  grounds.  In  fact,  as  the  invention 
is  new  as  yet,  we  cannot  foresee  all  the  purposes  to 
which  it  can  be  extended.  It  occurs  to  me  at  present, 
that  the  following  method  not  hitherto  used  or  sug- 
gested, might  be  employed  for  the  same  general 
purpose: 

Let  the  pattern  be  stamped  out  on  two  corresponding 
plates  of  sheet  lead  of  any  dimensions.  Smear  the  lead 
with  paste,  both  the  upper  and  the  under  plate.  Fix 
the  cloth  between.  Apply  force  or  pressure,  if  neces- 


424 


sary,  to  keep  them  together.  Inclose  them  in  a box  or 
a room,  and  throw  in  oxymuriatic  or  chlorine  gas  for 
a short  time.  If  needful  the  cloth  might  be  moistened 
to  prevent  the  corrosive  effect  of  the  acid. 

In  the  same  way  a dyed  piece  of  any  colour,  might 
be  discharged  in  patterns,  by  printing  on  it  a blotch 
ground  in  paste  work,  or  reserve,  and  exposing  the 
open  work  moistened  to  oxymuriatic  acid.  I'hese 
ideas  have  never  been  suggested  or  practised  that  I 
know  of;  but  I am  satisfied  that  they  are  feasible  from 
the  experiments  on  chlorine  gas,  which  I usually  in- 
troduce in  my  chemical  lectures  before  the  class. 

I proceed  now  to  the  brief  tract  on  callicoe  printing, 
by  Homassel,  republished  by  Le  Grange  in  1809.  I 
observe  that  some  of  the  processes  are  the  same  with 
those  employed  in  England,  and  I have  no  doubt  from 
the  similarity,  that  the  pastes  and  reserves  were  bor- 
rowed by  the  English  from  the  Rouen  manufacturers, 
whose  skill  has  more  than  once  aided  the  English 
dyer.  As  .to  the  other  processes  (exclusive  of  those 
connected  with  the  blue  dye)  wherever  the  French 
differ  from  the  English,  I prefer  the  latter,  as  more 
simple,  and  more  scientific:  but  it  is  worth  while  to 
know  the  processes  of  other  countries  so  late  as  the 
year  above  mentioned.  The  French  methods  are  more 
complicated  and  empirical  than  the  modern  English. 
They  are  not  yet  aware  that  acetat  of  alumine,  and 
acetat  of  iron,  are  capable  of  supplying  all  that  a prin- 
ter wants  for  good  and  fast  colours:  they  have  no 
knowledge  in  practice,  notwithstanding  the  experi- 
ments of  Thenard,  that  sulphat  of  alumine  is  decom- 


425 


j posed  with  great  difficulty  by  cloth  of  whatever  de- 
scription, and  can  be  effectually  washed  away,  and 
that  perfect  acetat  of  alumine  fixes  on  the  cloth  with 
much  stronger  affinity.  It  is  manifest  that  the  theory 
and  practice  of  printing  are  not  so  well  understood  in 
France  as  in  England:  still,  there  are  observations  of 
practice  dispersed  through  the  pages  of  Homassel, 
which  will  repay  the  perusal  of  his  directions. 

I omit  Homassel’s  directions  for  erecting  the  appa- 
ratus for  washing,  streaming,  See.;  also  his  method  of 
bleaching  the  cloths;  also  his  method  of  mounting  the 
vessels  used  for  the  preparation  of  iron  liquor:  all  this 
is  so  much  better  in  the  English  practice,  that  I should 
waste  paper  by  translating  it.  I presume  the  directions 
herein  before  given  on  the  subject  of  bleaching  and  irpn 
liquor,  will  supersede  the  necessity  of  the  French  ar- 
tist’s directions.  The  articles  relating  to  bleaching, 
both  in  Rees’s  and  Brewster’s  Encyclopaedias,  are 
good,  but  what  I have  said  on  the  subject  is  not  su- 
perseded by  those  articles;  and  being  the  result  of 
extensive  and  successful  practice  under  my  own  eye, 
I consider  as  important,  brief  as  it  is.  The  remarks 
on  the  method  of  making  acetat  and  pyrolignat  of  iron, 
in  the  articles  from  Rees,  are  well  worth  attending  to. 

Fine  Red  Colour.  The  reds  I prepare  (says  Ho- 
massel) for  a hundred  quarts  of  water,  can  be  as  well 
prepared  in  a small  as  in  a large  way,  preserving  the 
same  proportions. 

Take  water  one  hundred  quarts  {pintes:  the  French 
pinte  is  so  nearly  our  wine  quart,  that  they  may 
be  taken  reciprocally.) 

3H 


426 


Seventy-five  pounds  of  ground  alum. 

Two  pounds  of  lead  ore,  giound  and  steeped  in 
vinegar.  (Mine  de  plomb.) 

Four  pounds  of  arsenic,  ground  and  steeped  in 
vinegar. 

^ Three  pounds  of  common  salt,  dissolved  in  water. 

Fifteen  pounds  of  sugar  of  lead,  dissolved  in  water. 

One  pound  of  Cyprus  vitriol,  (blue  copperas)  dis- 
solved in  water. 

Two  pounds  of  soda  in  four  quarts  of  water. 

This  is  the  best  mordant  for  weld. 

When  the  sediment  of  these  ingredients  has  sub- 
sided, you  may  pour  oft*  the  clear  liquor  and  add  fifty 
quarts  of  water  to  the  grounds,  which  being  well 
stirred  for  four  or  five  days,  left  to  settle,  and  the  clear 
liquor  poured  off,  will  furnish  a very  good  second  red. 

To  enable  the  printers  to  see  the  mordant  distinctly, 
it  must  be  coloured.  For  this  purpose  boil  a pound  of 
rasped  brazil  wood  in  a hundred  quarts  of  water, 
strain  it:  dissolve  in  it  seventy-five  pounds  of  alum  in 
powder.  Dissolve  in  a separate  vessel  twenty  pounds 
sugar  of  lead  in  ten  quarts  of  water,  and  four  pounds 
white  arsenic  in  two  quarts  of  vinegar;  a pound  of 
verdigris  in  a pint  of  vinegar;  two  pounds  of  blue 
copperas  in  a quart  of  vinegar;  four  pounds  of  soda  in 
powder;  four  pounds  of  whiting  or  chalk. 

When  the  alum  is  dissolved,  which  will  be  the  case 
in  two  or  three  hours,  pour  in  the  solution  of  sugar 
of  lead,  stirring  it  continually;  then  pour  in  the  arsenic 
and  vinegar,  which  you  must  not  boil;  then  the  blue 
vitriol  and  verdigris.  When  all  is  dissolved,  add  by 


427 


degrees  the  soda,  then  the  chalk  or  whiting,  by  small 
quantities  at  a time.  It  is  important  that  all  the  drugs 
should  be  dissolved,  except  the  soda,  which  mixes 
with  the  sediment,  and  is  longer  in  dissolving,  I'he 
smallest  quantity  of  alum  undecomposed  will  crys- 
tallize, and  in  this  state  will  weaken  the  mordant,  and 
dispose  the  colours  to  run. 

All  reds  are  made  much  alike,  but  the  receipts  here 
given,  have  always  excelled  in  beauty  and  solidity.  It 
is  convenient  not  to  use  them  for  three  or  four  days 
after  they  are  made,  in  order  to  insure  the  complete 
deposition  of  all  sediment.  They  are  then  quite  clear, 
and  somewhat  like  fine  veal  jelly. 

These  reds  are  expensive,  and  manufacturers  who 
study  economy  require  some  that  are  cheaper. 

Another  Fine  Red.  Water,  one  hundred  quarts,  or 
rather  decoction  of  brazil. 

Sixty-five  pounds  alum,  managed  as  before  directed. 

Fifteen  pounds  of  sugar  of  lead. 

Two  pounds  of  white  arsenic,  dissolved  in  vinegar. 

Two  pounds  of  Cyprus  or  blue  vitriol,  dissolved  in 
vinegar. 

One  pound  of  verdigris,  dissolved  in  vinegar. 

Three  pounds  of  common  salt,  dissolved  in  water. 

Six  pounds  of  soda,  in  powder. 

Two  pounds  of  chalk. 

Make  up  this  red  with  the  precautions  before  in- 
dicated. 

Another.  Decoction  of  brazil,  one  hundred  quarts. 

Alum,  fifty  pounds. 

Sugar  of  lead,  twenty  pounds. 


I 


428 


White  arsenic,  two  pounds. 

Sal  smmoniac,  two  pounds. 

Blue  vitriol,  two  pounds. 

Chalk,  four  pounds. 

Composed  as  before  directed. 

Another.  Decoction  of  brazil,  one  hundred  quarts. 

Alum,  fifty  pounds. 

Sugar  of  lead,  twenty  pounds. 

White  arsenic,  two  pounds. 

Chalk,  four  pounds. 

Scarlet  tin  composition,  one  pound. 

If  the  alum  tends  to  crystallize,  increase  the  arsenic 
and  chalk. 

Man/  printers  use  the  following: 

Water,  (or  brazil  decoction,)  one  hundred  quarts. 

Alum,  fifty  pounds. 

Sugar  of  lead,  twenty-five  pounds. 

Blue  vitriol,  two  pounds. 

Chalk  or  whiting,  six  pounds. 

The  red  colour  may  be  coloured  with  logwood 
sometimes,  as  conveniently  as  with  brazil;  and  still 
better  with  fustic.  The  colburing  matter  always  dis- 
appears, being  displaced  in  the  raising  with  madder  or 
weld. 

When  the  red  appears  to  run,  or  the  alum  to  crys- 
tallize, the  colour  should  not  be  used.  If,  as  often 
ha]  pens,  after  the  thickening  is  put  in,  the  alum  crys- 
tallize n the  urface  of  the  drum,  you  must  stop  the 
work  (This  always  happens  from  a defect  of  sugar  of 
lead.  T.  C.)  in  this  case  the  colours  will  run  when  they 
come  to  be  raised  in  the  dye  copper. 


429 


If  before  thickening  you  find  that  the  alum  crystal- 
lizes, the  composition  must  be  heated,  but  not  to 
boiling,  and  stirred  till  all  is  dissolved.  'J'hen  add  one 
half  the  former  quantity  of  arsenic  dissolved  in  vinegar. 
A fermentation  then  takes  place,  owing  to  the  matters 
not  having  perfectly  neutralized  before,  and  therefore 
a complete  decomposition  could  not  take  place.  Then 
add  one  fourth  part  of  the  former  dose  of  chalk,  in 
powder,  and  by  degrees,  to  prolong  the  effervescence. 

As  the  art  of  making  mordants  for  reds,  demands 
long  practice,  you  must  not  serve  your  apprenticeship 
upon  large  quantities,  such  as  an  hundred  quarts  of 
water:  begin  with  the  same  proportions  of  the  same 
drugs  in  two  quarts;  and  try  it  on  a great  scale  when 
you  have  learnt  your  business  on  a small  one.  (This 
difficulty  is  owing  to  the  multitude  of  the  drugs  pre- 
scribed and  the  complication  of  the  receipt.  No  one 
will  fail  in  making  a good  red,  who  will  take  the  sub- 
stances and  proportions  I have  recommended,  to  wit, 
alum,  three  parts;  sugar  of  lead,  four  parts;  whiting, 
one-sixteenth  of  a part.  T.  C.) 

Of  Second  Red.  This  is  in  some  measure  regulated 
by  the  method  of  thickening:  if  it  be  thickened  with 
starch,  (or  paste?  amidon)  it  may  be  weaker  than  if 
it  be  thickened  with  gum.  A second  red  made  pur- 
posely, is  better  than  one  made  by  diluting  a strong 
red;  for  this  red,  one  third  of  the  drugs  used  for 
st'-ong  red  will  suffice.  Even  this  will  be  too  strong, 
if  there  be  but  two  reds  in  the  pattern  It  is  brought 
forward  more  advantageously  by  a third  red.  The 
first  red  is  thickened  with  starch,  and  is  concentrated 


430 


by  the  necessary  boiling  to  thicken  it.  The  second 
red  is  also  concentrated  in  the  same  way;  the  third 
red  thickened  with  gum,  is  diluted  by  the  thickening. 
Some  printers  may  be  of  opinion  that  my  second  and 
third  are  too  strong.  But  if  they  would  print  a fast 
green,  they  must  weld  the  yellows  after  the  first 
bleaching,  and  then  bleach  them  again  after  welding, 
which  altogether  will  take  six  weeks  on  the  grass: 
during  this  time  the  reds  may  be  lowered  as  much  as 
they  please.  It  is  very  unpleasant  to  a printer,  when 
he  has  raised  a pattern  in  fast  colours,  and  bleached 
the  grounds  on  the  grass,  to  find  that  the  second  and 
third  reds  are  half  bleached  out. 

But  if  the  reds  are  really  too  strong,  the  second 
red  may  be  thickened  with  gum  in  powder,  and  the 
third  with  gum  water:  then  the  yellows  may  be  finished 
with  chemical  yellow,  to  which  a printer  reconciles 
himself  sometimes  very  easily. 

Hence  for  a second  red,  where  the  first  is  made  with 
seventy- five  pounds  of  alum,  take 

Water,  one  hundred  quarts. 

Alum,  twenty-five  pounds. 

Sugar  of  lead,  five  pounds. 

Arsenic,  twelve  ounces. 

Cyprus  vitriol,  twelve  ounces. 

Verdigris,  six  ounces. 

Common  salt,  one  pound. 

Soda,  two  pounds. 

Whiting,  one  pound. 

You  must  not  suppose  that  this  second  red  is  more 
easily  made  than  the  first,  although  the  quantity  of 
\vater  be  the  same:  it  requires  full  as  much  attention. 


431 


Some  printers  make  their  second  red  by  putting  two 
parts  water  to  one  part  first  red;  but  this  is  apt  to 
make  the  colour  run.  (It  is  impossible  this  should  be 
the  case,  if  the  dilution  be  made  before  thickening. 
T.  C.)  Printers  have  always  their  particular  mark  or 
number,  so  that  it  can  be  known  at  once  by  the  mas- 
ter manufacturer,  what  printer  turned  out  the  piece  in 
question.  This  mark  is  usually  printed  with  a compo- 
sition of  soot  and  olive  oil,  which  when  the  piece  has 
been  bleached  to  clear  the  ground,  appears  of  a dull 
faint  red,  of  some  value.  (This  remark  is  worth  noting: 
I have  found,  indigo  ground  with  white  lead,  a very 
fixed  colour.  The  common  bleacher’s  mark,  is  nitrat 
of  silver,  thickened  with  gum  water,  and  coloured  with 
lamp  black.  This  is  indelible.  This  red  from  oil  and 
soot,  may  suggest  some  reflections  on  the  use  of  oil 
in  the  Turkey  red,  says  Homassel:  which  is  a remark 
also  worth  noting.  T.  C.) 

Violet.  There  are  several  methods  of  making  violet 
colour  (mordant.)  Every  printer  has  his  own  receipt, 
depending  upon  the  blue  or  brown  tint,  that  he  wishes 
to  predominate  in  this  colour.  The  base  of  violets,  is 
always  the  same;  the  varieties  are  formed,  by  a little 
more  or  less,  of  blue,  of  red,  or  of  brown. 

The  base  of  all  violets  is  thus  made: 

/ 

Black  colour,  (Bain  de  noir.) 

Cyprus  vitriol,  (blue  vitriol.) 

Saltpetre. 

Common  salt. 

Alum:  and  sometimes  verdigris. 

For  instance,  here  are  a first  and  second  violet,  to 
be  thickened  with  gum. 


432 


Sixteen  quarts  of  black. 

Six  quarts  water. 

Eight  ounces  Cyprus  vitriol. 

Six  ounces  saltpetre. 

Two  ounces  alum. 

Second  Violet. 

Six  quarts  black. 

Sixteen  quarts  water. 

Four  ounces  Cyprus  vitriol. 

Three  ounces  saltpetre. 

One  ounce  alum. 

Another  Violet. 

One  quart  black  colour. 

Four  quarts  water. 

One  ounce  saltpetre. 

Half  an  ounce  common  salt. 

By  doubling  the  proportion  of  black,  a brown  may 
be  made  on  this  violet,  thickening  the  brown  with 
starch  (amidon)  and  the  diluted  colour  with  gum. 

'Fhe  salts  should  be  dissolved  in  water  before  they 
are  added  to  the  black. 

Another  Violet. 

One  quart  black  dye  for  the  brown  tint. 

One  quart  water. 

One  ounce  sugar  of  lead. 

For  the  diluted  or  second  violet, 

Three  quarts  water. 

One  quart  black  dye. 

Half  an  ounce  sugar  of  lead. 

These  two  violets  are  thickened  with  starch 
(amidon.) 


433 


In  many  printing  Works,  if  a printer  asks  the  colour- 
man  for  a brown,  he  puts  into  the  pot, 

A pint  of  black. 

A pint  of  water. 

A wine  glass  full  of  second  red. 

Half  a pound  of  starch,  (amidon,)  which  is  all 
thickened  together  over  the  fire. 

In  the  blacks  intended  for  violets  they  generally  put 
an  ounce  of  (Cyprus)  vitriol  to  the  quart. 

Another  Violet. 

One  quart  of  black. 

Three  quarts  of  water. 

Two  ounces  Cyprus  vitriol,  (blue  vitriol.) 

Two  ounces  saltpetre. 

One  ounce  common  salt. 

This  can  be  deepened  of  course  by  increasing  the 
black. 

For  a second  violet  diminish  the  quantity  of  each  of 
the  ingredients. 

Red  Brown. 

One  quart  first  red,  (pinte.) 

Half  a pint  black  colour,  (demi-septier.) 

With  madder,  this  is  a red  inclining  to  brown:  with 
weld,  a brown-green. 

Flea  Colour  with  madder. 

Three  half  pints  first  red. 

One  half  pint  black  colour. 

With  weld,  this  makes  the  goose  dung:  these  colours 
are  useful  for  foliage  of  old  trees. 

Wood  Colour.  Raise  a violet  in  madder,  then  print 
red  colour  upon  it,  and  raise  it  in  weld. 

3 I 


434 


Pencil  Blue.  One  pound  of  indigo  in  sixteen  quarts 
of  water,  disoxygenated  by  liver  of  sulphur,  and  thick- 
ened with  four  pounds  of  powdered  gum  arabic. 

Green.  Blocked  indigo  blue;  upon  which,  when 
washed  and  dried,  print  red  colour  and  raise  it  in 
weld.  This  is  better  in  point  of  colour  than  when  the 
blue  is  blocked  or  pencilled  on  the  yellow,  because 
the  causticity  of  the  alkali  attacks  the  yellow  and 
weakens  it. 

On  the  thickening  of  Colours.  Colours  are  thickened 
with  starch  (amidon)  or  with  gum.  It  is  hardly  possi- 
ble to  fix  the  proportion  of  starch  to  a quart  of  liquor, 
on  account  of  the  varieties  in  quality  of  the  starch: 
sometimes  four  ounces,  sometimes  eight  are  required. 
Some  colours  require  to  be  more  thickened  than  others. 
Reds  require  so  much  only  as  to  prevent  their  run- 
ning: violets  should  be  thicker,  on  account  of  the 
black,  which  is  apt  to  run.  For  the  same  reason  black 
requires  more  thickening  than  any  others. 

In  regular  workshops  the  colours  wanted  for  to-mor- 
row are  made  to  day:  each  colour  ought  to  have  its 
appropriate  vessels. 

Some  workshops  proceed  on  the  principle  of  econo- 
my; some  choose  to  acquire  the  character  of  good 
work.  In  the  first  class,  starch  and  gum  are  seldom 
employed;  they  thicken  with  mill-dust  obtained  cheaply 
from  the  millers. 

In  thickening,  the  flour  or  starch  is  placed  on  the 
fire  in  a pot,  the  liquid  added  by  degrees,  and  stirred 
till  it  acquires  the  proper  consistence. 

It  is  better  to  err  on  the  side  of  the  colours  being 
too  thick  than  too  thin:  for  in  the  first  case  the  printers 


435 


can  dilute  them  to  their  mind,  but  when  too  thin,  they 
must  be  boiled  over  again  in  the  colour  shop,  which 
is  often  a detriment  to  the  colour:  besides  the  incon- 
venience of  running  when  the  colours  are  to  thin. 

If  gum  be  used  for  thickening  in  the  proportion  of 
four  ounces  to  the  quart,  the  gum  in  powder  is  beat 
up  with  about  half  the  liquid  which  it  is  intended  to 
thicken,  and  when  dissolved,  it  is  gradually  diluted  by 
stirring  in  the  other  half. 

Oj  the  False  Colour.  This  is  the  glutinous  matter 
used  to  support  the  cloth  in  the  tub  or  drum.  It  is 
usually  made  of  ground  linseed,  boiled  to  the  neces- 
sary consistence,  and  poured  hot  into  the  tub,  where 
it  is  left  to  cool.  The  printer  who  has  the  command 
of  the  table,  fixes  this  after  his  own  manner.  This 
elastic  gluten  is  absolutely  necessary  to  support  the 
cloth  of  the  drum,  because  if  there  should  be  any  ac- 
cidental hole  or  slit  in  it,  the  linseed  unites  so  spar- 
ingly with  acids  and  mordants,  that  they  are  not  spoiled 
by  the  accident. 

In  many  shops,  instead  of  linseed,  they  use  the 
scrapings  of  printers  pots:  and  throw  into  the  tub  in- 
discriminately all  such  bottoms  and  scrapings.  This 
imprudent  parsimony  occasions  faults  in  the  work, 
when  it  comes  to  be  maddered. 

The  false  colour  in  the  tub  is  covered  with  leather, 
or  waxed  cloth,  and  this  again  with  thick  woven  cloth, 
whereon  the  mordant  is  smeared  with  a brush,  which 
the  printer  takes  up  by  his  block. 

The  tables  should  be  solid,  perfectly  smooth,  level, 
covered  with  cloth,  kept  scrupulously  clean,  and  the 
block  neatly  engraved.  The  mallets  should  be  plugged 
with  lead  about  the  thickness  of  a finger. 


436 


The  printing  room  should  be  furnished  with  a stove, 
not  merely  for  winter  but  in  summer  also,  especially 
in  damp  weather.  The  fire  should  be  lighted  whenever 
the  printers  call  for  it,  because  in  most  print  shops 
they  are  answerable  for  their  work.  Beside  the  stove 
of  the  printing  shop,  there  should  be  a stove-room  ad- 
joining or  over  it,  to  which  the  goods  are  carried  when 
printed,  in  order  to  drive  off  the  superfluous  acid  of 
the  mordant.  But  the  heat  should  not  exceed  a blood 
heat. 

No  second  colour  can  be  printed  till  the  first  is.pcr- 
fectly  dry:  it  is  particularly  necessary  to  see  that  the 
blacks  are  quite  dry,  as  they  are  most  apt  to  spread, 
the  rust  of  the  iron  having  that  tendency. 

Sometimes  over  the  linseed  thickening  in  the  tub, 
they  put  cloth  dipt  in  suet  in  lieu  of  skin  or  of  oil 
cloth,  a substitute  which  the  printers  often  prefer. 

The  blocks  must  not  be  kept  in  a place  either  too 
dry,  so  as  to  make  them  fall  to  pieces,  or  too  moist, 
to  unglue  them.  If  being  in  one  piece  they  are  apt  to 
warp  from  being  too  dry,  they  can  be  covered  with  a 
moist  cloth,  or  warmed  over  a fire  on  which  water  is 
thrown  to  raise  steam.  When  the  superintendant  of 
the  block-cutting  shop  receives  pear-wood  planks  for 
the  purpose,  he  should  expose  them  for  two  months 
to  the  sun,  near  a stream,  throwing  water  on  them 
whenever  they  become  dry. 

The  master  of  the  works  should  take  care,  that 
when  a printer  lays  aside  one  block  to  take  another, 
he  does  not  put  by  the  first  till  it  is  perfectly  clean, 
for  it  spoils  them  to  let  the  colour  dry  on. 


437 


When  a block  becomes  foul,  it  can  be  cleaned  with 
strong  sulphuric  acid,  and  then  washed  in  water. 

Of  Maddering.  Coloured  callicoes  with  a black 
ground,  require  two  madderings:  the  second  requires 
as  much  madder  as  the  first. 

When  there  are  three  reds,  the  second  is  printed 
immediately  after  the  first,  but  when  there  are  only 
two,  they  print  and  madder  the. first,  before  they  print 
the  second. 

Black  grounds  require  two  raisings  in  madder  of  a 
pound  and  a half  each,  for  a piece  of  ten  ells  French 
or  thirteen  yards  English. 

If  you  have  a callicoe  black  ground,  two  reds,  and 
two  violets,  print  the  deepest  violet  and  the  first  red, 
to  be  raised  together,  the  second  red  and  second  vio- 
let should  be  printed  afterwards  and  raised  in  the  se- 
cond maddering.  So  that  the  block  which  prints  the 
second  violets  on  the  white  may  cover  also  the  black 
ground;  this  strengthens  the  black  ground  by  fresh 
mordant  for  the  second  maddering.  But  if  there  be  no 
second  violet,  then  the  black  may  be  covered  when 
you  print  the  violet  red,  except  where  you  have  to 
block  in  afterwards  a chemical  yellow.  If  the  black  be 
not  strong  enough,  it  may  be  refreshed  by  the  violet 
chemically  applied  without  maddering. 

In  a printing  establishment,  there  should  be  a cop- 
per for  dunging,  another  for  maddering,  another  for 
welding,  another  for  branning.  They  should  be  fur- 
nished with  grates  and  fire  places;  the  flue  should  be 
divided  into  two  parts,  and  meet  at  their  exit  into  the 
chimney.  (The  fire  places  are  more  convenient  on  the 


438 


outside  of  the  room  than  withinside.)  If  the  boilers  be 
well  set,  the  madderitig  ought  not  to  occupy  more  than 
two  hours. 

The  coppers  ought  to  have  a large  cock  (or  rather 
plug)  at  the  bottom  to  empty  them  easily,  with  winces 
to  turn  the  pieces  in  the  madder  bath.  The  callicoes 
should  be  prepared  after  mordanting  in  cow  dung, 
mixed  with  water,  so  as  to  be  of  a full  green  colour; 
wince  them  in  this  for  half  an  hour;  and  then  wash 
them.  If  they  are  printed  with  a colour  thickened  with 
gum,  they  will  take  a longer  time;  they  should  be  left 
exposed  to  the  current  of  the  stream  an  hour;  and 
then  beat,  so  as  to  be  sure  that  all  the  gum  is  washed 
out.  A fulling  mill  is  often  very  convenient  for  this 
purpose. 

The  dye  copper  sliould  be  ready  filled  with  clean 
water  to  receive  the  pieces  after  washing:  the  madder 
well  broken,  should  also  be  at  hand;  light  a fire  under 
the  copper  or  boiler,  put  in  the  madder,  fasten  the 
ends  of  the  pieces  together  (about  170  yards  in  all  in 
England)  and  wind  them  evenly  on  the  wince. 

By  this  time  the  water  in  the  copper  with  the  mad- 
der in  it  will  be  moderately  hot:  rake  it,  so  as  to  dis- 
tribute the  madder  evenly.  The  pieces  are  winced  in 
the  liquor,  by  one  man,  while  another  keeps  them 
sunk  in  the  liquor  by  means  of  a stick,  till  the  mad- 
dering  is  over.  The  madder  copper  should  be  so 
heated  that  it  approaches  a boiling  heat  in  an  hour  and 
a half,  and  not  sooner.  When  the  madder  colour  is 
exhausted,  the  process  is  finished,  but  it  is  expedient 
to  give  the  pieces  a couple  of  turns  more,  which  takes 
about  fifteen  minutes. 


439 


If  this  maddering  be  repeated,  the  goods  after  being 
well  washed,  must  be  dried,  calendered,  and  reprinted. 

When  the  callicoes  have  a black  ground,  you  must 
not  forget  to  put  in  an  ounce  or  two  ounces  of  nut 
galls  to  each  piece,  and  after  maddering  they  should 
also  be  passed  through  a bath  of  logwood  liquor. 

The  goodness  of  the  work  can  only  be  judged  of 
after  maddering. 

If  the  grounds  are  white,  the  first  maddering  suf- 
fices; but  if  there  be  yellows  and  e-reens,  it  must  be 
printed  again  with  colour  or  mordant.  The  oxygenated 
muriatic  acid  may  be  made  to  supersede  laying  the 
goods  down  on  the  grass.  Thus:  after  washing  the 
maddered  goods,  boil  them  in  bran  and  water  for  a 
quarter  of  an  hour  and  then  rince  them:  in  a clean  tub 
or  cuir,  half  filled  with  cold  water,  put  some  dxymu- 
riatic  acid,  prudently:  pass  the  goods  through  this 
liquor  by  wincing  them,  till  they  are  three  quarters 
white  in  the  ground.  Then  take  them  out,  wince  in  a 
little  soft  soap  and  water,  and  lay  them  down  without 
washing:  it  is  best  done  when  the  weather  is  fine,  that 
the  soap  may  dry  on  the  pieces.  Then  wet  them  on 
the  grass,  and  in  three  or  four  days,  the  smell  of  the 
soft  soap  will  be  lost,  and  the  grounds  will  be 
bleached. 

Before  welding,  the  blue  for  the  greens  ought  to 
be  blocked  on.  For  this  purpose,  there  should  be  a 
tub,  three  quarters  filled  with  pencil  blue:  on  this  put 
the  cloth,  single  or  double  as  the  printer  chooses. 
When  the  printer  has  gone  the  length  of  the  table,  he 
should  examine  if  any  parts  of  the  pattern  have  been 


S 


440 


missed,  in  which  case,  the  defects  must  be  pencilled, 
and  then  sanded  to  prevent  their  spreading. 

When  the  whole  piece  is  printed,  it  nmst  be  soaked 
in  water  for  two  hours  to  get  out  all  the  gum  of  the 
pencil  blue.  Sometimes  even,  it  is  needful  to  rub  the 
places  with  the  hand.  If  the  pieces  are  washed  merely 
by  wincing,  this  must  not  be  quitted  till  the  gum  is 
surely  washed  out. 

The  pieces  are  then  calendered,  and  printed  with 
red  colour  according  to  the  strength  of  the  yellow  pro- 
posed. Wood-colour,  is  printed  on  maddered  violets 
to  be  raised  in  weld.  So,  orange  colours  are  printed 
on  reds  to  be  raised  yellow,  while  at  the  same  time 
the  weld  copper  raises  yellow  on  the  whites  and  green 
on  the  blues. 

On  Green  Grounds.  For  these  grounds  it  is  neces- 
sary to  reserve  all  the  flowers  with  a paste,  that  can  be 
washed  ofi"  in  water,  but  will  not  separate  in  the  blue 
vat. 

Such  a reserve  or  paste  may  be  thus  made: 

Sifted  pipe  clay,  one  pound. 

Gum  arabic  dissolved  in  water,  two  quarts. 

Tallow,  two  ounces. 

Wax,  one  ounce. 

Rosin,  one  ounce. 

Boil  all  together  in  a sufficient  quantity  of  water  to 
bring  them  to  such  a consistence  that  they  will  not 
spread  upon  the  cloth. 

This  reserve  can  only  be  pencilled  on,  or  blocked 
on  with  a block  well  hatted. 

When  the  cottons  are  dipped,  it  must  be  in  a vat 


441 


fresh  made  and  strong,  so  that  the  required  colour  may 
be  soon  obtained.  Then  wash  them  to  get  off  the 
paste,  dry,  calender,  and  print  them  with  red  colour 
upon  the  blue,  to  be  raised  green  by  weld  Should 
any  of  the  reserve  still  stick  on,  the  heat  of  the  weld 
bath,  and  the  subsequent  washing  will  detach  it. 

No  more  than  eight  pieces  of  thirteen  yards  Eng- 
lish are  welded  at  a time,  for  they  must  be  quickly 
turned  in  the  liquor. 

The  copper  should  admit  of  and  be  supplied  with 
forty  pounds  of  weld,  which  should  boil  for  two  hours. 
This  long  boiling  has  often  been  objected  to  me,  in- 
asmuch as  the  liquor  becomes  greasy  by  means  of  it; 
this  is  true,  but  the  weld  colour  which  has  not  under- 
gone a two  hours  boiling,  is  half  discharged  by  bleach- 
ing on  the  grass,  while  that  which  has,  loses  little  or 
nothing. 

When  the  weld  has  boiled  two  hours,  take  it  out, 
enter  your  eight  pieces  of  ten  French  ells  each  (or 
about  thirteen  yards  English:  we  enter  eight  pieces  of 
twenty- eight  and  a half  yards  each,  though  six  are 
better,  T.  C.)  well  washed  previously.  They  must  be 
winced  rapidly  for  half  an  hour  at  the  utmost,  for  weld 
does  its  duty  very  speedily,  and  the  colour  is  also  apt 
to  be  redissolved  by  too  long  boiling.  Then  wash  the 
callicoes  and  bleach  them  on  the  grass. 

When  the  goods  have  been  bleached  a first  time, 
they  will  be  of  a clear  white  in  the  grounds  in  twelve 
days.  If  they  are  for  expedition  entered  into  dilute  ma- 
rine acid  and  water,  they  must  be  finished  in  soft  soap 
and  water. 

3 K 


442 


When  the  welded  goods  are  thus  bleached,  they 
must  be  rinced,  dried,  calendered  and  carried  to  the 
penciliers,  to  repair  any  defects,  with  pencil  blue  and 
chemical  yellow. 

The  reds  arid  second  reds  may  also  be  pencilled 
blue  for  violets,  and  with  pencil  yellow  for  orange. 
They  then  go  to  the  print  shop  to  receive  the  chamois 
or  buffs  and  drabs;  the  buffs  are  usually  made  of  se- 
cond violet,  with  no  salt,  but  the  mere  colour  of  iron 
mould.  We  shall  say  more  on  this  subject  when  we 
come  to  chemical  colours  (petit  teinte.) 

When  buffs  are  to  be  raised,  they  are  better  for  stay- 
ing three  or  four  days  before  they  are  washed.  But  if 
they  are  to  be  dyed,  they  should  be  washed  as  soon  as 
they  are  dry.  When  washed  and  dried,  they  are  glazed 
(by  friction,  with  a machine  that  works  backward  and 
forward,  a polishing  stone  or  glass).  They  are  then 
calendered  and  made  up  for  sale. 

Of  Paste  Work,  or  Reserve  Blues.  That  is,  white  - 
patterns  on  a blue  ground.  They  are  scoured  and  pre- 
pared in  the  usual  way,  then  printed  with  the  follow- 
ing paste: 

Cyprus  vitriol,  six  ounces,  (blue  vitriol.) 

Alum,  two  ounces. 

Verdigris,  two  ounces. 

Powdered  gum  arabic,  four  ounces. 

Make  a thick  paste  of  pipe  clay,  with  water  in  which 
you  dissolve  two  ounces  of  tallow:  stir  this  mixture 
into  an  uniform  consistence  over  the  fire.  The  above 
mentioned  salts  arc  the  proportions  to  be  mixed  with 
one  pound  of  ground  and  sifted  pipe  clay:  they  must 


443 


be  dissolved  in  vinegar,  and  the  whole  united  by  well  ' 
stirring  them  together,  over  the  fire.  The  consistence 
must  be  such,  that  when  laid  on,  it  will  not  spread. 
The  chase,  or  covering  of  the  linseed  mucilage  in  the 
drum  or  tub,  is  for  these  pastes  usual!)  of  leather. 
The  printer  ought  not  to  use  his  common  mallet,  but 
give  the  block  a stroke  or  two  with  his  fist,  not  too 
hard. 

Reserves  are  also  made  for  yellows.  For  this  pur- 
pose, a quart  or  two  of  black  colour  (bain  de  noir)  is 
used,  in  which  you  dissolve  a pound  of  green  cop- 
peras. If  the  black  colour  be  strong,  you  may  put  in 
but  half  a pound  of  copperas  and  as  much  gum  arabic; 
give  it  the  requisite  body  with  yellow  sandy  clay,  or 
founders’  clay,  which  the  brass- workers  use  for  their 
castings. 

When  dipped  in  the  blue  vat,  it  must  be  often  ex- 
posed to  the  air,  and  stretched,  turned,  and  returned, 
to  prevent  its  spotting.  To  make  a solid  blue,  it  must 
be  exposed  to  the  air  long  enough  to  ehange  the  green 
to  a blue,  and  this  a second  time.  When  dyed  they 
must  be  well  washed,  and  if  necessary  run  through  hot 
water,  completely  to  separate  the  paste,  and  then 
rinced  and  dried. 

In  establishments  where  blues  are  dyed  in  the  large 
way,  they  have  square  vats  of  oak,  tightly  hooped;  but 
they  frequently  leak;  and  it  is  the  best  part  of  the 
liquor  that  leaks  out.  More  business  can  be  done 
with  two  vats  lined  with  lead,  than  with  four  wooden 
ones.  I have  been  in  shops  where  the  vats  were 
grooved,  tongued,  caulked  with  oakum,  and  well 


444 


pitched  within  and  without;  in  this  case  to  be  sure 
they  lost  little.  In  other  places  they  sink  their  vats  in 
the  ground,  and  ram  clay  nine  inches  thick  all  about 
them.  They  would  persuade  me  that  these  vats  lost 
nothing,  but  I greatly  doubt  this;  for  the  caustic  alkali 
will  eat  small  holes  even  in  the  wood  itself,  and  find 
a way  of  escaping.  I know  it  will  penetrate  the  com- 
mon glazed  pottery. 

To  dye  the  goods  in  the  vat,  the  cloth  is  stretched 
on  frames  by  means  of  copper  hooks,  suspending  them 
by  the  selvages,  beginning  at  one  end,  and  finishing 
at  the  other.  The  top  bars  of  the  frames  run  in  grooves 
so  that  the  pieces  may  be  sunk  lower  at  pleasure,  and 
they  are  stopped  by  pegs  put  into  the  holes  at  the  re- 
quired depth.  The  pieces  are  let  down,  and  raised  by 
means  of  pullies.  The  hooks  may  rust  the  cloth  once 
or  twice,  but  whenever  they  once  become  covered  with 
indigo,  they  will  spot  the  cloth  no  more. 

Of  China  Blue  or  English  Blue.  (Bleu  de  Faiance.) 
In  England,  and  in  the  great  manufactories,  where 
they  make  a point  of  carrying  the  blue  dye  to  perfec- 
tion, as  in  those  of  Jouy,  Bercy,  and  others,  they 
manage  their  English  blue  thus. 

They  grind  their  indigo,  which  must  be  of  the 
finest  quality,  with  one  part  and  a half  of  green  cop- 
peras: these  ingredients  must  be  ground,  either  on  a 
marble,  or  by  means  of  a mill,  till  they  are  mutually 
reduced  to  the  consistence  of  an  oil  or  a gelly.  This 
union  of  green  copperas  with  the  indigo,  serves  to 
give  it  body  and  tenacity,  so  that  it  does  not  spread 
upon  the  cloth  when  immersed  in  the  vat. 


445 


For  a deep  blue,  they  prepare  gum  water  of  mode- 
rate consistence,  neither  too  thick  nor  too  thin.  To  . 
make  the  gum  water  it  is  not  necessary  to  reduce  the 
gum  to  powder,  only  into  small  lumps,  to  avoid  the 
coagulation  of  the  powdered  gum. 

The  union  of  copperas  atid  indigo  with  gum  water, 
is  not  easily  effected.  For  this  purpose,  they  must  be 
well  mixed  and  ground  together,  and  then  with  a spa- 
tula, they  must  be  forced  together  through  a hair  sieve. 
For  deep  blue,  they  use  equal  parts  of  the  indigo  and 
copperas  mixture,  and  of  gum  water;  for  a second  blue 
they  use  five  parts  of  the  gum  water,  and  one  part  of 
the  indigo  ground  with  copperas.  The  deepest  blue  is 
first  printed:  the  next  day,  and  not  before,  the  second 
blue  is  printed,  which  must  not  be  done  till  the  first  is 
perfectly  dry.  When  thus  printed  two  blues,  the  calli- 
coes  must  rest  ibr  four  or  five  days  in  this  state.  By 
this  time,  the  copperas  and  indigo  will  have  sunk  into 
the  cloth,  so  that  the  impression  will  appear  on  the 
opposite  side  of  a rusty  colour.  Hence  I have  directed 
one  part  and  a half  of  copperas  to  one  of  indigo,  be- 
cause the  copperas  fixes  the  indigo  and  prevents  its 
spreading  while  it  is  in  the  vat;  and  this  gives  the 
China  blue  that  solidity  which  makes  it  resist  the  oxy- 
muriatic  acid,  which  does  not  act  strongly  on  metallic 
colours. 

For  a single  establishment  of  China  blue,  four  vats 
are  necessary:  for  a double  course  of  work  six,  and 
for  three  times  as  much  work  as  you  can  get  through 
with  four,  eight.  The  potash  vat,  and  vitriolic  or  sul- 
phuric acid  vat,  are  sufficient  for  the  other  six,  and 


446 


make  an  establishment  of  three  pairs:  for  independent 
of  the  oil  of  vitriol  or  sulphuric  acid  vat,  no  more  than 
two  others  are  necessary. 

In  the  first  vat  you  put  a pound  of  lime  to  four  gal- 
lons of  water,  and  you  may  put  a little  more.  In  the 
second  vat,  you  put  two  pounds  of  green  copperas  to 
four  gallons  of  water,  or  a little  more.  The  copperas 
vat  should  never  be  black,  but  of  a green  colour:  when 
it  has  been  worked  for  some  time,  it  loses  its  yel- 
low green  colour,  and  if  well  managed  becomes  of  a 
fine  duck  green.  The  management  of  this  vat  consists 
only  in  putting  in  green  copperas  occasionally,  and 
preventing  the  top  liquor  from  being  mere  water. 
When  the  vat  is  much  worked,  there  should  be  a 
small  quantity  of  crystals  of  green  copperas  kept  in  the 
bottom  of  the  vat.  The  water  need  not,  but  can  be  so 
saturated  with  copperas  that  it  will  take  up  no  more. 
When  well  managed,  this  vat  will  keep  constantly  in 
order;  by  degrees  a sediment  collects  from  the  lime, 
which  is  gypsum  and  falls  to  the  bottom  of  the  vat: 
the  liquor  may  be  drawn  off  clear,  and  the  sediment 
emptied  occasionally. 

In  the  third  or  potash  vat,  you  put  two  pounds  of 
lime  to  four  gallons  of  water.  Formerly  a potash  ley 
was  added,  but  that  is  now  disused,  although  the  vat 
from  this  circumstance  retains  the  name  of  the  potash 
vat.  At  present  it  is  made  up  with  lime  alone. 

In  some  dye  shops  they  add  common  salt  to  this 
vat,  but  I have  tried  it,  and  I find  no  use  or  difference 
whatever  produced  by  this  addition.  But  I have  found 
benefit  by  adding  haif  a pound  of  soda  to  four  gallons. 


447 


These  vats  must  be  prepared  three  or  four  days 
before  they  are  wanted  for  use,  that  by  stirring,  the 
lime  may  be  fully  slacked,  and  the  copperas  well  dis- 
solved. 

The  fourth  vat,  is  the  sulphuric  acid  vat;  this  may 
be  made  the  same  day  it  is  wanted,  for  it  is  apt  to  at- 
tract humidity  from  the  atmosphere,  and  become 
weaker.  Into  sixty  parts  by  measure  of  water,  put  one 
part  of  oil  of  vitriol,  and  mix  it  all  well  together.  The 
leaden  boiler  also,  should  be  filled  with  the  same  pro- 
portions. 

The  printed  callicoes  fixed  in  a frame,  are  then  im- 
mersed in  the  first  lime  vat  for  five  minutes:  raise 
them  and  let  them  drip  for  three  or  four  minutes:  then 
plunge  the  frame  in  the  copperas  vat  for  thirty  mi- 
nutes: raise  it,  let  it  drip  for  two  minutes:  plunge  it  a 
second  time  in  the  lime  vat  for  twenty  or  twenty-five 
minutes:  raise  it;  let  it  drip  for  two  minutes:  plunge 
it  a second  time  in  the  copperas  vat  for  thirty  minutes; 
raise  it,  let  it  drip  for  two  minutes:  plunge  it  a third 
time  in  the  lime  vat,  let  it  stay  twenty  minutes;  raise 
it,  let  it  drip  two  minutes;  then  a third  time  in  the 
copperas  vat  for  thirty  minutes;  let  it  drip  for  two 
minutes. 

The  callicoes  having  been  thus  passed  three  times 
into  each  of  the  two  first  vats,  the  lime  vat  and  the 
copperas  vat,  are  to  be  plunged  into  the  third  or  what 
is  called  the  potash  vat,  (although  it  is  in  fact  a lime 
vat.)  In  this  vat  it  should  remain  one  hour;  take  it  out, 
and  let  it  drip  for  two  or  three  minutes  or  more  if  ne- 
cessary; then  plunge  them  in  the  sour  vat  of  sulphuric 


448 


acid  for  fifteen  minutes.  Then  carry  the  frames  at 
once  to  the  river  w^ithout  draining  them,  and  there 
wash  and  beat  them,  till  they  give  out  no  more  blue 
colour. 

When  they  are  thus  well  rinced,  enter  them  into 
the  leaden  boiler  a little  warm,  to  take  out  the  iron* 
moulds,  and  clear  the  whites  perfectly;  then  carry 
them  to  the  river  to  wash,  and  lay  them  down  on  the 
grass  for  two  nights.  The  boiler  need  not  be  bigger 
than  about  ten  buckets. 

Five  minutes  before  the  vats  are  used  they  should 
be  stirred  up,  particularly  the  lime  vats,  which  should 
appear  like  milk:  indeed  when  the  frames  are  let  down, 
they  should  be  moved  about  occasionally,  and  not 
suffered  to  remain  quite  still. 

If  you  are  not  sure  that  you  can  depend  upon  your 
vats,  attach  a specimen  piece  to  one  of  the  frames,  and 
examine  it  before  you  enter  the  frames  into  the  vitriol 
vat.  If  the  pieces  have  missed  taking  the  colour  as  you 
expect,  there  is  no  remedy  but  discharging  the  co- 
lour. If  the  colour  is  not  quite  strong  enough,  it 
should  rest  a little  longer  time  in  the  potash  vat,  and 
be  repassed  into  the  copperas  vat. 

While  the  cloth  stays  in  the  vats,  it  acquires  a dirty 
green  colour,  and  at  the  close  of  the  operation  it  is  of 
a black  green,  a certain  sign  that  the  process  has  been 
properly  conducted.  The  vitriol  vat  makes  all  this 
disappear  and  brings  ou:  the  proper  colour. 

When  fifty  or  sixty  pieces  (of  thirteen  yards  each) 
have  been  passed  through  the  two  first  vats,  it  fre- 
quently happens  that  the  lime  vat  becomes  charged 


449 


with  particles  of  copperas,  which  turns  the  cloth  of  st 
j buflf  colour,  which  can  easily  be  perceived  within  the 
; first  five  minutes  after  a piece  is  entered.  Although  this 
does  not  influence  the  solution  of  the  blue,  yet  as  it 
makes  the  cloth  more  difficult  to  be  bleached,  a vat  so 
circumstanced  must  be  dispensed  with. 

The  lime  vat  should  also  be  fed  daily  with  fresh 
lime,  to  keep  it  always  of  the  same  strength. 

' This  China  or  English  blue,  is  a great  object  with 
all  the  callicoe  printers,  who  have,  for  the  most  part, 
been  afraid  of  undertaking  it  on  account  of  the  uncer- 
tainty of  success,  and  the  expense  of  the  utensils  ne- 
cessary to  such  an  establishment;  for  which  reason  I 
will  describe  them  more  particularly,  that  the  expense 
may  be  judged  of. 

(I  omit  the  description,  because  I consider  it  as. 
manifestly  inferior  to  the  English  methods  already 
mentioned.) 

Generally  a nankin  or  buff  colour  is  printed  on  the 
China  blues,  which  relieves  the  work  very  much.  The 
method  of  managing  this,  is  as  follows. 

Expose  green  copperas  to  the  fire  till  it  becomes  of 
a red  colour  (colcothar),  then  expose  it  in  a moist 
place,  till  it  deliquesces;  grind  this  with  iron  liquor, 
and  use  it  to  colour  the  gum  solution  in  such  propor- 
tion as  will  produce  the  colour  you  wish,  and  print 
with  it.  This  is  in  fact  the  same  colour  which  is  called 
English  nankin,  and  which  will  continue  from  its 
merit  to  triumph  over  the  inconstancy  of  fashion. 

O/' discharging  spoiled  pieces.  The  discovery  of  the 
oxymuriatic  acid  has  rendered  this  operation,  formerly 

3L 


450 


very  difficult,  now  easy:  but  as  this  acid  does  not  act 
on  metallic  earths  or  oxyds,  the  vitriolic  souring  in  the 
leaden  boiler  was  deemed  indispensable. 

But  the  following  is  a better  method. 

Fill  a common  copper  boiler,  with  the  quantity  of 
water  necessary  to  work  the  cloths  in.  Fr)r  every  piece 
of  thirteen  yards,  put  in  half  a pound  of  gray  tartar 
(white  argol)  in  powder:  raise  the  fire,  enter  the  cloths, 
and  before  the  liquor  boils,  all  the  colours  are  dis- 
charged. 

But  as  the  tartar  is  a vegetable  salt,  not  apt  to  act 
prejudicially  upon  the  pieces,  you  may  bring  the 
liquor  to  a boil,  and  keep  it  at  that  heat  for  an  hour, 
to  dissolve  completely  the  mordant  of  the  madder  co- 
lours, as  well  as  the  other  colouring  matters  that  re- 
quire to  be  discharged. 

When  the  cloths  have  boiled  an  hour,  they  should 
be  taken  out,  washed,  and  well  beaten  at  the  river, 
and  then  run  through  a weak  bath  of  oxymuriatic 
acid,  till  they  are  quite  cleared;  then  carry  them  again 
to  the  river  and  wash  them  well:  they  will  seldom  re- 
quire to  be  laid  down  on  the  grass,  but  may  be  put 
into  work  immediately. 

If  instead  of  common  gray  argol  or  tartar,  you  em- 
ploy cream  of  tartar,  the  whites  will  be  the  better  for 
it,  but  it  is  rather  dear. 

Of  the  Lesser  Dye  on  Printed  Callicoes.  Buffs  (cha- 
mois) are  much  employed  in  this  course  of  work. 

The  printers  of  fast  colours,  generally  employ  only 
violet  colour  more  or  less  deep,  or  black  colour,  as 
occasion  may  require. 


451 


A callicoe  printed  two  violets,  or  violet  and  black, 
will  exhibit  after  being  washed  and  ready  for  the  mad- 
der copper,  two  buff's  or  iron  stains,  which  are  oc- 
casionally much  in  fashion. 

To  raise  a buff,  dissolve  a pound  of  green  cop- 
peras in  a quart  of  water;  add  to  it  a quart  of  black 
colour,  to  make  it  deeper:  or  dissolve  in  a quart  of 
black  colour,  a pound  of  copperas,  and  if  you  please, 
four  ounces  of  sugar  of  lead. 

To  raise  a yellow  buff,  dissolve  one  pound  of  cop- 
peras in  two  quarts  of  water,  with  four  ounces  sugar 
of  lead:  let  it  remain  eight  days  before  you  use  it.  (It 
may  be  used  in  eight  minutes.  T.  C.)  The  older  it  is, 
the  deeper  it  is.  (I  doubt  this.  7\  C.) 

If  you  want  a lively  orange  buff,  expose  copperas  to 
a strong  heat  on  an  iron  plate  or  shovel;  one  pound  of 
copperas  thus  treated,  will  give  but  four  ounces  of 
residuum;  (this  is  the  common  colcothar  of  vitriol  or 
crocus  martis;  T,  C.)  leave  it  on  the  shovel  in  a moist 
place,  till  it  begins  to  deliquesce  and  to  run;  it  will  be 
a brown  oily  kind  of  liquor,  which  you  may  use  as 
you  want  it. 

All  buff's  are  thickened  with  gum,  when  they  are 
diluted;  but  with  starch  when  they  are  strong.  They 
are  fast  colours. 

Buff's  are  also  made,  by  rusting  iron  nails  by  means 
of  nitrous  acid;  this  acid  they  mix  also  with  green 
copperas,  but  it  is  a bad  and  dangerous  practice,  as  it 
is  apt  to  burn  the  cloth. 

Buff's  are  also  made  with  annatto,  but  this  is  apt  to 
spread  and  spot,  and  is  not  fast. 


452 


When  you  print  fast  buffs,  it  is  best  to  thicken  with 
gum. 

These  colours  are  usually  called  English  nankins. 
They  stand  washing  well,  but  blacken  with  tea  and 
other  astringents. 

Of  Colours  of  Application  or  Chemical  Colours. 

Of  Yellow.  Many  printers  who  carry  on  business 
largely  do  not  print  with  a mordant  and  weld  their 
callicoes,  after  they  have  been  once  printed,  maddered, 
and  the  whites  cleared  on  the  grass;  on  account  of  the 
length  of  time  ivhich  this  operation  takes,  especially 
when  a second  clearing  on  the  grass  is  necessary.  They 
say  also  that  a chemical  yellow  will  stand  three  or  four 
washings,  which  are  as  many  as  are  usually  required. 

In  my  opinion,  however,  chemical  yellow  will  not 
stand  three  or  four  washings;  one  half  of  it  is  washed 
out  at  the  first  washing;  and  if  it  be  not  washed 
by  servants  who  know  their  business,  not  only  the 
yellow  is  washed  out  in  part,  but  it  runs  upon  the 
other  colours  and  stains  the  whites,  which  spoils  the 
whole  appearance  of  the  garment.  On  the  other  hand, 
if  the  yellows  and  greens  stand  as  they  ought  to  do,  a 
garment  looks  respectable  even  though  it  should  be 
something  worn,  for  these  colours  give  relief  to  the 
others. 

Chemical  yellow  is  thus  made.  Put  four  pounds  of 
bruised  yellow  berries  into  twenty  English  quarts  of 
water,  together  wuth  four  pounds  of  quercitron,  or  else 
as  much  rasped  fustic;  but  this  last  is  not  near  so  good 


45S 


as  the  quercitron.  Boil  it  down  to  one  half,  or  till  you 
can  draw  off  not  more  than  about  eight  quarts. 

Add  to  the  sediment  about  twenty  quarts  more  of 
water  and  boil  it;  this  last  decoction  should  be  set 
aside  to  be  used  for  the  next  quantity  of  fresh  yellow 
you  mav  Avant,  as  it  is  better  than  clear  water.  To  each 
quart  of  this  strong  decoction  add  two  ounces  of  Ro- 
man alum.  Thicken  the  yellow  with  starch:  if  you 
have  Canary  birds  in  your  pattern,  thicken  with  gum. 

Of  Prussian  Blue.  Some  printers  use  Prussian  blue, 
(which  is  so  straiige  a colour  for  goods  intended  to  be 
Washed  that  I omit  it.  T.  C.) 

Of  Logwood  and  Brazil.  No  good  colour  can  be 
produced  chemically  with  these  drugs,  unless  the  de- 
coction be  very  strong,  nor  unless  the  woods  be  rasped; 
it  is  great  waste  to  use  them  in  chips  or  shavings. 

In  a bucket  of  water,  about  four  gallons,  boil  two 
pounds  of  logwood  for  an  hour.  Strain  the  liquor,  and 
add  other  two  pounds  of  fresh  logwood.  Boil  down  to 
five  quarts.  Take  care  to  keep  up  the  boiling  heat  all 
the  time,  otherwise  the  wood  will  reimbibe  the  colour 
it  has  given  out.  The  sediment  may  be  boiled  over 
again,  and  set  aside  for  a fresh  quantity. 

The  brazil  wood  must  be  treated  like  the  logwood: 
nor  must  you  draw  more  at  the  utmost  than  three 
pints  of  decoction  from  a pound  of  brazil.  The  sedi- 
ment boiled  over  again  serves  instead  of  water,  for  the 
next  quantity  of  colour  you  may  stand  in  need  of. 

Fora  chemical  violet  with  logwood,  add  to  a quart 
of  the  decoction,  one  ounce  of  alum  and  one  ounce  of 
saltpetre:  thicken  either  with  starch  or  gum. 


454 


To  produce  a fine  light  velvety  violet,  add  to  four 
parts  by  measure  of  the  brazil  decoction,  one  part  of 
logwood  decoction,  an  ounce  of  powdered  alum  and 
as  much  saltpetre  for  each  quart;  thicken  with  starch. 
(It  is  worth  while  to  try  the  solution  of  bismuth  either 
in  nitric  acid  or  aqua  regia.  T.  C.)  ' 

For  a red  as  a companion  to  the  violet^  one  quart 
brazil  decoction,  one  ounce  alum,  one  ounce  saltpetre: 
thicken  with  starch. 

For  a deep  logwood  hlue^  take  one  quart  decoction 
of  logwood,  half  an  ounce  blue  vitriol,  half  an  ounce 
of  powdered  alum,  two  drops  of  oil  of  vitriol;  thicken 
with  starch.  For  a second  blue,  thicken  this  with  gum 
water. 

Of  Green.  To  make  a green,  take  three  parts  of  the 
chemical  yellow  liquor  alumed  as  before  directed,  one 
part  of  logwood  decoction,  and  the  eighth  of  an  ounce 
of  blue, vitriol,  thickened  with  starch. 

Of  Black.  Two  pounds  logwood,  as  much  sumach, 
a quarter  of  a pound  of  blue  galls  well  bruised;  boil 
in  four  gallons  of  water,  till  it  is  reduced  one  half: 
then  put  in  a quart  of  vinegar,  and  continue  the  boil- 
ing; then  add  an  ounce  of  sal  ammoniac,  and  reduce 
the  liquor  by  boiling  to  one  gallon:  then  add  two 
ounces  of  blue  vitriol;  when  dissolved,  draw  off  the 
clear  liquor,  and  thicken  with  starch. 

Another  Black.  Boil  from  four  to  five  pounds  of 
oak  saw-dust  in  a common  bucket  (about  four  gallons) 
of  water:  when  boiled  for  an  hour  or  two,  strain  the 
liquor,  and  boil  in  it  two  pounds  of  rasped  logwood; 
after  about  an  hour,  put  in  a quart  of  vinegar,  and  an 


455 


ounce  of  sal  ammoniac.  Boil  down  to  one  gallon;  add 
two  ounces  of  powdered  blue  vitriol:  strain  and 
thicken  with  starch. 

When  these  colours  are  to  be  washed  after  printing, 
let  them  soak  first  in  water  for  four  hours,  then  wash 
them. 

If  they  should  be  nankin  or  buff  dimities,  the  co- 
lours should  be  thickened  with  gum:  in  which  case, 
they  should  soak  for  six  hours  before  they  are  finally 
washed,  otherwise  the  colours  will  be  apt  to  stain  the 
whites.  Nor  should  these  colours  be  soaked  or  washed 
till  two  days  after  they  are  printed. 

Chemical  White.  This  is  printed  on  gauzes,  mus- 
lins, and  lawns.  Take  some  old  worn  rags  of  these 
substances:  bleach  them  as  white  as  possible,  finishing 
in  a sulphuric  acid  souring,  and  then  wash  scrupu- 
lously. When  quite  dry,  grind  them  to  powder  in  a 
new  snuff  mill:  sift  them  through  a covered  sieve.  It 
is  this  fine  dust  that  is  used  for  the  impression. 

Cover  the  printing  table  with  a cloth  tightly  stretch- 
ed, or  with  pasted  paper.  Fix  some  ledges  of  wood  to 
the  edges  of  the  table,  that  may  rise  about  an  inch 
above  the  level  of  the  table:  cover  the  table  evenly 
with  the  sifted  dust  above  described,  four  or  six  lines 
(above  a quarter  of  an  inch)  thick:  upon  this  dust,  as 
on  a carpet,  the  gauze  or  muslin  is  stretched,  which  is 
then  printed  simply  with  gum  water:  this  gum  water 
soaks  through,  and  causes  the  dust  to  stick  to  the 
printed  gauze  on  the  opposite  or  under  side.  This  im- 
pression perfectly  resembles  embroidery. 

This  process  may  be  improved  not  only  by  pro- 


I 


456 


ducin^  patterns  in  colours,  but  by  fixing  those  co- 
loured dusts  on  the  gauze  or  muslin  by  means  of  a 
varnish  that  will  not  wash  out.  Thus,  take 

Spirit  of  turpentine  (oil  of  turpentine)  one  pound. 

Of  Venice  or  Chio  turpentine,  one  pound. 

Of  sandarach,  one  ounce. 

Of  mastic,  in  drops  or  tears,  one  ounce. 

Dissolve  the  mastic  and  sandarach  in^the  oil  of  tur- 
pentine, and  thicken  it  with  the  turpentine  in  sub- 
stance, to  the  degree  necessary  for  printing.  This 
varnish  should  be  rather  dilute  than  otherwise.  When 
once  dry,  nothing  but  caustic  potash  will  wash  it  out. 
To  clean  the  blocks,  they  must  be  soaked  in  oil,  and 
then  washed  with  hot  caustic  alkali. 

When  an  impression  is  to  be  made  in  many  eolours, 
there  must  be  as  many  tables  prepared  in  the  same 
way,  and  covered  with  powder  of  linen  or  cotton  of 
the  required  colours. 

When  this  impression  is  well  made,  it  very  naturally 
represents  an  embroidery  of  many  colours. 

One  may  thus  print  in  gold  and  silver,  by  using 
ground  gold  and  silver  leaf. 

On  Striped,  or  Jasper  Printing.  This  is  done  with- 
out engraved  blocks. 

You  must  have  several  figured  tools  of  various 
sizes — flies  and  stars  cut  out  in  milled  lead — very  thin 
boards,  some  straight,  some  notched,  serrated  or 
jagged  regularly  at  the  edge,  of  different  patterns,  to 
make  such  lines  and  stripes  as  you  see  fit. 

You  must  have  a square  racquet  of  ten  inches  or  a 


457 


foot  long,  of  which  the  meshes  should  not  be  more 
than  three  or  four  line!? square,  of  fine  brass  wire. 

You  must  provide  also  brushes  and  colours. 

The  colours  employed,  are,  solution  of  annatto,  buff 
colour,  black,  brazil  red,  and  logwood  violets  and 
blues. 

All  these  colours  must  be  thickened  with  two 
ounces  of  gum  arabic  or  Senegal  to  the  quart:  each  co- 
lour must  have  its  own  brush. 

The  method  of  using  these  materials,  is  as  follows. 

Suppose  you  wish  to  print  two  front  pieces  of 
waistcoat  pattern,  in  rays  or  stripes  of  goose  dung 
green.  You  place  upon  the  patterns  small  strips  of 
wood  to  preserve  the  whites.  Take  the  racket  in  the 
left  hand,  and  a brush  in  the  right:  dip  the  brush  in 
the  annatto  colour,  shake  it  three  or  four  times  over 
the  pot  of  colour,  that  a very  small  quantity  may  re- 
main on  the  brush.  Pass  the  brush  over  the  racket,  at 
about  the  height  of  a foot  from  the  waistcoat  pattern, 
moving  the  racket  here  and  there  as  the  circumstance 
requires;  the  colour  should  fall  in  a very  fine  and 
gentle  rain. 

If  the  brush  be  not  shaken  when  you  take  it  out  of 
the  colour  pot,  the  colour  will  fall  on  the  cloth  in  thick 
drops,  which  would  spoil  the  pattern. 

When  the  waistcoat  piece  is  covered  with  annatto 
colour,  evenly  in  those  places  which  are  not  covered 
with  the  slips  of  wood,  then  take  the  black  colour,  and 
sprinkle  it  over  the  annatto  in  the  same  manner  as 
above  directed.  The  union  of  these  two  will  make  the 
goose  green. 

3 M 


458 


It  is  not  necessary  that  this  jasper  colour  should  be 
as  thick  as  if  it  were  intended  Tor  printing.  When  the 
goose  green  is  thus  produced,  take  up  the  wooden 
strips,  and  the  white  will  appear  in  all  its  freshness. 

This  kind  of  work  is  not  washed;  it  is  sent  out  im- 
mediately in  the  state  thus  described. 

Another  example  will  suffice  to  illustrate  this  kind 
of  w'ork. 

Suppose  you  unshed  to  colour  a piece  with  goose 
dung  green  stripes,  white  flowers,  with  an  orange  or 
aurora  colour  bee. 

Place  the  pattern  of  cloth  on  the  table:  cover  the 
white  with  your  strips  of  wood,  kept  firm  by  leaden 
or  iron  weights.  Then  at  equal  distances  upon  that 
part  which  is  to  be  sprinkled  goose  green,  place  your 
flowers  in  lead  upon  the  white,  then  on  the  flower,  a 
bee  or  a star.  Sprinkle  with  logwood  violet.  Then 
take  up  your  leaden  flowers  and  bees.  Fix  your  bees 
on  the  white  flowers,  and  then  sprinkle  with  annatto 
colour  with  the  precautions  before  prescribed. 

When  the  annatto  is  perfectly  mixed,  and  the  goose 
green  appears  even,  take  up  your  leaden  figures,  and 
strips  of  wood,  and  if  the  work  be  well  done,  you  will 
have  stripes  of  goose  green,  interspersed  with  bees  of 
an  orange  colour  (from  the  annatto)  and  violet  and 
white  fiou^ers. 

Dimities  are  also  thus  printed  in  stripes,  and  with 
borders,  by  means  of  Prussian  blue,  and  logwood 
violet. 

If  this  kind  of  work  is  to  be  printed,  it  must  be  so 
before  it  is  sprinkled;  and  the  printed  impression  must 


459 


be  well  washed,  and  the  piece  calendered  and  dried. 
You  may  sprinkle  afterwards  in  buff,  taking  care  that 
your  strips  of  wood  are  well  pressed  down.  It  is  evi- 
dent that  great  varieties  of  patterns  may  be  thus  pro- 
duced. 

The  lead  patterns  may  be  cut  out  with  a pen  knife 
or  scissars,  or  stamped;  and  may  be  placed  on  the 
cloth  one  after  another;  and  in  this  way,  the  patterns 
may  be  varied,  and  pieces  printed  quickly  and  at  small 
expense. 

On  the  Business  of  a Scourer.  (Teinturier — De- 
graisseur.)  This  is  a business  extremely  useful  to  the 
economy  of  dress,  and  of  the  furniture  of  a house.  (A 
scourer  must  be  a dyer.  T.  C.) 

Without  this  art,  either  the  consumption  of  articles 
would  double,  or  what  would  rather  be  the  result,  the 
luxury  of  furniture  would  decrease  one  half.  For  the 
object  of  the  scourer,  is  to  give  an  appearance  of  fresh- 
ness to  the  articles  sent  to  him. 

The  scourer  takes  away  the  spots  produced  by 
grease  and  by  colouring  matters,  on  lace,  gauze,  linen, 
muslin,  &c.;  such  as  the  spots  of  ink,  iron  mould, 
tallow  and  such  like.  He  does  so  likewise  on  cloth  and 
silk,  but  this  is  often  to  be  effected  by  such  means  as 
will  answer  a very  temporary  purpose  only. 

The  scourer  cleans,  re-dyes,  and  turns  out  as  new, 
the  old  garments  sent  to  him,  whether  of  cloth,  cotton, 
linen,  gauzes,  or  silk;  but  in  this  art  as  in  many  others, 
the  means  that  will  answer  in  skilful  hands,  will  onlj* 
spoil  the  articles,  if  used  by  the  unskilful. 


460 


First  then,  all  the  essential  oils  have  the  pro^jerty  of 
dissolving  oily  and  fatty  matters. 

Oil  of  oranges,  lemons,  bergamotte,  rosemary,  take 
out  greasy  stains,  but  they  are  too  expensive  for  use 
in  the  large  way. 

Private  persons  may  use  these  oils,  and  effect  their 
purposes  for  the  same  price  that  they  give  to  a scourer; 
and  they  will  be  freed  from  the  smell  of  oil  of  turpen- 
tine, which  the  scourers  commonly  employ;  and  even 
this  is  no  trifling  matter. 

But  the  proper  substance  for  the  purpose  is  oil  of 
lavender. 

The  merchants  who  deal  in  this  oil,  disguise  by 
mixture  the  genuine  oil  of  lavender,  so  as  to  change 
the  very  smell  of  it. 

The  true  oil  of  lavender  possesses  the  quality  of  ex- 
tracting grease  without  the  aid  of  oil  of  turpentine, 
which  however  has  the  same  property,  but  with  a very 
unpleasant  smell. 

If  a callicoe  spotted  with  oil,  should  be  cleaned,  and 
the  spots  are  not  taken  out  of  it,  they  will  reappear 
even  after  washing.  All  spots  should  be  taken  away 
in  the  first  instance,  especially  if  it  is  to  be  dyed  over 
again. 

Ox-gall  is  usually  employed  for  this  purpose:  or 
where  the  cloth  will  bear  it,  caustic  alkali,  which  forms 
a soap  with  the  grease;  the  cloth  can  then  be  washed. 

When  oil  of  turpentine  is  made  use  of  for  the  pur- 
pose of  detaching  grease  spots,  you  dip  a piece  of 
spunge  or  of  cotton  into  the  oil  of  turpentine  and  rub 
the  spot  till  it  disappears.  But  it  is  expedient  to  cover 


461 


tlie  part  so  rubbed,  with  some  kind  of  powder,  as 
pounce  or  ground  plaster,  or  pipe  clay,  otherwise 
there  would  remain  a border  with  the  oil  of  turpen- 
tine, which  does  not  always  take  place  with  oil  of 
lavender.  Spots  of  paint  can  be  rubbed  out  in  the  same 
manner. 

For  white  garments,  use  ground  plaster;  for  colours 
use  some  fat  earth,  pipe  clay,  or  ashes. 

A scourer  should  take  care  not  to  drive  the  spot  into 
the  substance  of  the  cloth,  for  after  some  days  it  will 
appear  again  more  extended.  Such  is  the  case  of  many 
persons  who  have  a drop  of  wax  from  a wax  candle 
upon  their  clothes;  they  attempt  to  take  it  out  with  a 
coal  in  a silver  spoon  held  over  some  blotting  paper. 
The  spot  will  seem  to  disappear,  but  in  a day  or  two 
it  will  reappear  with  a more  extended  border,  and  there 
is  more  difficulty  in  eradicating  it  then,  than  at  first. 

To  take  out  spots  of  wax,  you  must  employ  spirit 
of  wine,  or  very  strong  brandy.  When  you  put  this  on, 
the  wax  will  be  reduced  to  a kind  of  powder  or  dust. 
No  powder  is  necessary  to  be  used  with  the  spirit  of 
wine.  (Spirit  of  wine  cold,  will  not  dissolve  more  than 
an  ounce  of  wax  at  the  utmost  to  the  quart.  Oil  of 
turpentine,  especially  when  warm,  dissolves  wax  much 
more  easily.  T.  C.) 

When  the  fronts  of  waistcoats  of  silk  embroidere-) 
are  to  be  cleaned,  they  must  be  treated  with  oil  of  tur- 
pentine, and  then  dusted  over  with  ground  plaster,  if 
the  ground  of  the  pattern  be  white;  or  with  some  fat 
or  aluminous  earth  in  powder,  if  they  be  coloured. 
When  quite  dry,  they  may  be  shaken  and  brushed, 


462 


and  then  they  will  appear  almost  as  new.  But  if  these 
fronts  of  vests  are  of  satin,  it  is  best  to  rub  them  in 
cold  soap  and  water  three  or  four  times,  and  wash 
them  well  in  very  clear  water  till  quite  clean,  and  dry 
them  quickly.  But  you  must  not  employ  in  this  wash- 
ing  more  than  ten  minutes  at  the  utmost;  they  must 
in  fact  be  dry  in  that  time:  otherwise  the  colours  of 
the  embroidery  w’ill  be  apt  to  run  upon  each  other. 
Hence  for  this  operation,  it  is  best  to  choose  dry  and 
fine  weather,  and  much  care  must  be  taken  in  the 
process. 

When  it  happens  that  the  embroidery  runs,  for  want 
of  taking  the  necessary  precautions,  there  is  no  re- 
medy but  to  wash  out  the  colours  that  have  thus  run, 
by  hot  soap  and  water.  This  will  weaken  the  other 
colours  to  be  sure,  but  this  is  better  than  to  have  tlie 
garment  spoiled. 

After  washing  in  soap,  it  should  be  rinced  out  in 
hard  water:  if  the  water  be  not  hard,  a drop  or  two  of 
vitriolic  acid  will  make  it  so. 

Vests  of  dimity  with  gold  and  silver  spots  or  figures, 
may  be  cleaned  in  the  same  way,  first  with  soap,  and 
then  rinced  out  in  hard  water.  This  is  more  necessary 
where  there  is  gold  embroidery  on  the  waiscoat;  be- 
cause this  is  usually  worked  on  a ground  of  annatto, 
which  soap  will  alter:  in  this  case,  a drop  or  two  of  the 
acid  of  vitriol  is  necessary  to  the  rincing.  The  opera- 
tion should  be  finished  in  less  than  ten  minutes. 

All  embroidered  goods  that  have  been  scoured, 
require  to  be  glazed,  or  to  run  through  rollers  or  re- 
gularly calendered.  Calendering  gives  life  to  gold  and 
silver  embroidery. 


463 


Embroidered  muslin  of  any  kind,  is  passed  over  hot 
iron,  while  somewhat  damp.  This  is  the  boasted  English 
mode  of  finishing.  (I  do  not  think  Homassel  perfectly 
understands  the  process  of  English  finishing.  He  may 
either  mean  that  the  goods  are  passed  over  a red  hot 
iron  to  burn  ofl'  the  pile  in  the  progress  of  bleaching; 
or  that  in  the  finishing,  they  are  run  through  two  pair 
of  polished  iron  rollers,  hollow,  and  furnished  inside 
with  hot  irons;  which  is  the  finishing  for  muslins  and 
muslinets.  They  are  a little  damp,  and  slightly  starch- 
ed and  blued.  T.  C.) 

Embroidered  casimirs  are  also  cleansed  by  means 
of  soap,  of  which  you  need  not  be  sparing.  When  once 
spotted  or  stained,  you  must  wash  them  with  soap,  till 
they  acquire  an  uniform  colour. 

To  scour  a cloth  coat,  you  must  begin  by  beating 
it  well  with  a small  stick  to  get  out  all  the  dust.  Then 
the  spots  will  appear  more  plainly.  Then  mark  all  the 
spots  with  soap,  not  missing  one.  The  soap  will  dis- 
appear with  the  spot.  Then  mix  ox-gall  with  water, 
wherewith  brush  over  the  whole  coat,  so  as  to  moisten 
it,  in  the  direction  of  the  pile  of  the  cloth.  When  thus 
moistened,  stretch  the  cloth  backward  and  forward,  to 
get  out  all  the  creases,  and  dry  it  on  a half  hoop 
(demicerceau.)  When  dry,  it  should  have  the  lustre 
of  new  cloth;  give  it  a brushing  to  soften  it,  and  that 
is  all  it  will  need. 

Old  scarlet  dresses  are  also  thus  cleaned.  Fre- 
quently there  are  black  spots  and  iron  stains,  which 
can  be  taken  out  by  rubbing  the  place  with  a slice  of 


464 


lemon,  or  with  lemon  rind  containing  a little  of  the  acid 
juice. 

When  the  cloth  is  dry,  put  lemon  juice  on  the  spots; 
if  after  the  second  application  they  do  not  disappear, 
rub  the  place  with  the  yellow  juice  of  the  rind,  and 
leave  it  on  for  two  or  three  days,  then  card  or  teazle 
it,  and  the  spot  will  disappear.  But  if  the  cloth  is  almost 
new,  clean  it  with  lemon  juice  with  as  much  pains  as 
you  would  with  ox-gall.  (Whether  an  acid  be  proper 
or  not,  depends  on  the  nature  of  the  colour.  T.  C.) 

As  to  grease  spots  which  lemon  juice  will  not  act 
upon,  apply  the  essential  oil  of  lemons.  (I  do  not  see 
why  oil  of  turpentine  will  not  do.  I shall  give  my 
process  presently.  T.  C.) 

When  the  spots  are  made  by  the  dropping  of  a tal- 
low candle,  apply  the  ox-gall,  but  with  management. 
First,  by  means  of  a knitting  needle,  introduce  some 
ox-gall  into  the  middle  of  the  spot;  by  degrees  you 
may  separate  from  the  cloth  the  tallow  and  the  ox-gall 
too,  by  the  assistance  of  the  needle.  But  this  requires 
patience. 

When  the  spot  is  taken  out,  the  place  is  moistened 
with  lemon  juice.  (I  cannot  tell  why:  nor  why  le- 
mon juice  is  prescribed  whatever  the  colour  may  be. 
It  is  an  unnecessary  application  after  the  tallow  is  out. 
T.  C.)  If  the  spot  is  crimsoned,  (rosee)  cover  it  with 
lemon  peel,  or  moisten  it  with  lemon  juice,  in  which 
some  salt  of  sorrel  is  dissolved.  If  at  the  end  of  your 
trials,  the  scarlet  is  made  too  yellow,  it  can  be  crim- 
soned again  with  a little  white  soap  and  water,  applied 
with  a linen  rag.  (A  very  weak  acid  will  suffice  to 


I 


465 


bring  the  rose  colour  to  a scarlet.  Undiluted  lemon 
juice  is  too  strong.  T.  C.) 

The  yolk  of  egg  also,  dissolves  the  scarlet  and 
destroys  the  crimson  of  the  spots. 

A habit,  a cloak,  a riding  coat  of  scarlet  which  has 
met  with  some  unpleasant  accident,  as  falling  in  the 
muyl,  or  some  such  thing,  should  be  washed  or  fulled 
with  ox- gall  to  get  rid  of  these  dirty  stains.  Then 
prepare  a warm  bath  of  water  acidulated  with  a very 
small  quantity  of  oil  of  vitriol,  into  which  the  cloth 
must  be  plunged,  and  be  worked  about  in  it,  till  it  ac- 
quires an  even  colour.  Then  stretch  it  out,  but  dO  not 
wring  it:  when  half  dry  lay  the  pile  with  a clothes- 
brush.  Stretch  it  again,  and  dry  it  gradually. 

Tallow  spots,  spots  from  a stove  pipe,  are  taken  out 
with  salt  of  sorrell.  (It  will  not  take  out  tallow  spots. 
T.  C.)  When  the  tallow  is  taken  out,  and  the  cloth 
cleansed  with  ox-gall  and  water,  wash  it  and  work  it 
prudently  so  as  not  to  attack  the  colour. 

When  the  scourers  have  taken  out  a spot  and  the 
colour  with  it,  they  are  in  the  habit  of  renewing  the 
colour  by  means  of  crayons  of  the  same  colour,  which 
they  procure  at  the  colour  shops.  This  suffices  for  the 
moment,  but  no  longer. 

But  the  colours  may  be  renewed  by  more  sure 
means.  Thus  ..for  browns,  the  Lyons  sorrell  mixed 
with  a very  little  water,  and  applied  with  a pencil, 
brings  out  the  browns,  on  silks  as  well  as  on  cloth. 

For  the  green  and  yellow  colours,  resort  to  the  che- 
mical greens  and  yellows  of  the  callicoe  printer. 

To  raise  the  yellow,  damaged  in  a green,  cover  the 

3 N 


466 


spot  with  fresh  wood  ashes;  cover  the  ashes  with  paper, 
and  pass  backward  and  forward  over  the  paper,  a com- 
mon sad  iron  heated.  All  alkalies  bring  out  or  deepen 
yellows. 

Fast  blues  do  not  change;  but  if  they  do  in  a small 
degree,  they  can  be  renewed  by  the  logwood  blue 
made  with  blue  vitriol. 

All  the  fine  reds,  such  as  scarlets,  crimsons,  rose 
colours,  nut  colours,  which  have  been  altered  and  yel- 
lowed by  salt  of  sorrel,  are  renewed  by  fresh  wood 
ashes.  They  must  be  used  sparingly,  lest  they  deepen 
the  colour  too  much.  (A  weak  solution  of  potash  is 
much  better.  T.  C.) 

Gray  colours  are  also  restored  by  ashes,  (rather  by 
a very  weak  solution  of  any  alkali,  T.  C.)  but  they 
must  be  retouched  with  caution  and  dexterity,  with  a 
pencil  dipt  in  logwood  liquor. 

There  are  taylors  who  at  the  same  time  profess  to 
be  scourers.  They  are  dextrous  in  taking  out  the 
piece  where  a spot  appears,  and  substituting  neatly 
another  piece  from  some  corner  of  the  same  garment. 
Any  person  who  is  skilled  in  the  use  of  silk  and  a 
needle  may  do  the  same. 

Salt  of  sorrell  also  takes  out  the  spots  of  ink  in  cloth. 
But  it  requires  a little  practice  to  know  how  to  manage 
it.  (I  have  taken  ink  spots  and  iron  moulds  out  of  the 
finest  muslins  thus:  have  ready  some  spirit  of  salt, 
(muriatic  acid)  in  a wine  glass:  hold  the  spotted  mus- 
lin on  the  finger  of  your  left  hand;  dip  your  finger  of 
the  right  hand  into  the  spirit  of  salt  undiluted,  and 
moisten  by  dabbing  it,  tlie  spot  to  be  taken  out;  in 


467 


about  half  a minute,  the  spot  will  appear  discharged; 
then  wash  it  immediately  in  plenty  of  water,  so  as  to 
wash  out  all  remains  of  acid.  If  the  spot  be  not  en- 
tirely eradicated,  dry  the  cloth  and  repeat  the  opera- 
tion. If  your  spirit  of  salt  be  strong  and  good,  it  will 
succeed  without  injuring  the  finest  muslin  materially. 
But  if  you  attempt  it  with  diluted  spirit  of  salt,  you 
will  certainly  rot  the  place.  T.  C.) 

Spots  of  pitch,  tar,  varnish,  oil  paint,  can  be  taken 
out  with  fresh  butter.  (Better  with  oil  of  turpentine. 
T.  C.)  When  the  spots  are  effaced  and  nothing  but 
the  butter  remains,  this  can  be  taken  out  by  the  com- 
mon methods  of  getting  rid  of  grease  spots.  For  in- 
stance, suppose  a spot  of  pitch  was  found  on  a blue 
coat,  and  that  by  means  of  butter  the  pitch  had  been 
dissolved  and  rubbed  away;  you  may  take  out  the 
butter  stain  by  scraping  on  it  pipe  clay,  fuller’s  earth, 
French  chalk,  or  soap  stone,  at  several  times,  till  all 
the  grease  be  soaked  up.  In  this  case  it  will  not  be 
necessary  to  wet  the  whole  coat  with  ox-gall  and 
water,  as  you  must  do,  if  you  cannot  use  any  of  these 
fat  earths. 

Talc,  or  soap  stone,  or  pipe  clay,  or  fuller’s  earth, 
will  answer  very  well  to  take  out  spots  in  cloth  dyed 
of  any  fast  colour;  but  on  scarlets,  these  earths  produce 
a blackish  stain  very  hard  to  be  effaced.  They  must 
be  treated  with  much  care  with  lemon  juice  or  salt  of 
sorrell. 

On  green  cloth,  these  earths  enfeeble  the  yellow, 
which  is  brought  out  again  by  alkalies. 

They  also  take  the  blue  out  of  Amiens  gray,  and 


I 


468 


leave  only  the  ground.  But  this  can  be  remedied,  by 
putting  a little  Spanish  white  on  the  place  moistened 
with  some  dilute  Saxon  blue;  or  the  spot  can  be  cray- 
oned; for  the  Amiens  gray  is  not  much  faster  than  the 
crayon  colour.  In  Saxon  blues  and  greens,  these 
earths  enfeeble  the  colour:  but  the  same  means  can 
be  employed  to  renew  the  tint. 

In  Paris  muds,  and  gray  colours  dyed  upon  the 
same  principle,  these  earths  may  be  used  to  ad- 
vantage. 

You  may  also  full  with  fuller’s  earth  or  pipe  clay 
all  old  cloths  intended  to  be  dyed  over  again.  But  they 
must  be  well  washed  and  beaten  at  the  river,  to  get 
out  all  the  clay.  (Terre  gras.) 

To  take  iron  moulds  out  of  lace  and  lawn,  proceed 
thus: 

In  soaping  to  cleanse  them,  heat  a sad-iron,  or  any 
clean  iron  plate.  Upon  this  iron  plate  so  heated,  lay  a 
piece  of  clean  cloth  moistened  with  clean  water,  so 
that  a steam  may  arise;  hold  the  spot  over  this  steam; 
then  with  your  finger  dipt  in  salt  of  sorrel,  dab  the 
spot  till  the  rust  or  stain  disappears.  Then  proceed  to 
soap  and  wash  it.  (I  presume  he  means  it  must  be 
first  washed  and  rinced;  and  then  exposed  to  the  steam 
with  the  salt  of  sorrel,  and  not  with  the  soap  upon  it. 
T.  C.) 

Rumpled,  creased  and  fretted  velvets,  are  also 
brought  even  by  the  steam  arising  from  wet  cloth  on 
hot  iron  or  copper:  the  pile  can  be  delicately  raised, 
and  evenly  laid  by  a brush,  while  the  cloth  is  thus 
under  the  operation  of  steaming. 


469 


Laces  and  lawns  spotted  with  ink,  can  also  be  clean- 
ed by  means  of  fresh  green  sorrel.  The  sorrel  stains 
them  green;  but  this  colour  quickly  washes  out. 

The  oxymuriatic  acid  would  answer  the  purpose 
still  better,  but  it  is  not  yet  well  known  among  the 
scourers. 

Callicoes  are  scoured  in  the  following  manner. 

Wash  or  full  them  well  four  times  in  soap  and 
water,  washing  them  between  with  clear  water;  this 
should  not  occupy  a long  time,  but  be  done  quickly, 
else  you  will  wash  out  all  the  colours.  After  the  third 
or  fourth  washings,  wash  or  rince  them  out  in  hard 
water,  and  dry  them  as  quickly  as  possible.  Glaze  or 
calender  them:  if  you  glaze  them  use  w'hite  wax  for 
the  light  colours,  and  yellow  wax  for  the  darker  ones; 
just  enough  to  make  the  glass  ball  run  smoothly,  and 
no  more.  Many  scourers  are  not  content  with  this,  but 
starch  the  cloths  till  they  are  stiff;  then  they  sprinkle 
them  evenly;  then  wax  and  glaze  them,  till  the  calli- 
coes are  stiff  and  brittle  enough  to  tear  very  easily. 

I would  here  offer  an  observation  for  the  use  of 
callicoe  printers.  It  is  not  necessary  that  a callicoe 
should  go  to  a scourer  to  wear  it  out.  It  undergoes 
wear  and  tear  enough  from  the  bleaching  to  the  print- 
ing. It  is  this  wear  and  tear  at  the  scourer’s,  that  makes 
the  printers  say,  a colour  is  fast  enough  if  it  will  stand 
scouring  twice. 

Callicoes  of  fast  colour,  are  well  cleaned  with  ox- 
gall, which  ought  to  be  chosen  clear,  for  some  is  much 
more  so  than  others.  (I  do  not  see  any  necessity  to 
send  callicoes  to  a scourer:  the  fast  colours  will  stand 


470 


four  or  five  washings,  and  that  is  as  much  as  the  cloth 
will  stand.  If  spotted,  the  means  indicated  in  this  sec- 
tion will  answer  to  take  out  the  spots.  T,  C.) 

Silk  stockings  are  cleaned  by  washing  in  two  or 
three  suds,  soap  and  waters.  When  cleaned  from  dirt, 
boil  them  the  last  time  in  soap  and  water  with  a little 
powder  blue.  Wring  them  out  of  this  boiling,  and 
then  expose  them  to  brimstone.  In  coming  out  of  the 
brimstone  stoving,  put  them  on  legs,  and  covering 
them  with  clean  cloth,  rub  them  with  a tampon  (a  ball 
of  cloth)  to  give  them  lustre,  or  else  with  a smooth  ball 
of  glass  to  glaze  them.  Then  take  them  off  the  wooden 
legs,  stretch  them,  and  fold  them  up. 

To  give  them  the  water  hue,  put  one  of  two  stock- 
ings on  one  leg,  and  put  the  other  upon  it,  turning  it 
inside  out,  so  that  they  shall  tally  with  each  other,  the 
grain  of  the  silk  in  both  lying  the  same  way:  then  with 
a polished  wooden  ball  or  glazer,  rub  them  backward 
and  forward  till  they  become,  as  it  is  called,  watered. 

If  the  clocks  of  silk  stockings  are  coloured,  they  are 
best  cleaned  with  ox-gall,  green,  clear,  and  limpid; 
they  should  not  be  sulphured. 

To  whiten  gauzes  without  fraying  them,  they 
should  be  put  into  a bag  of  white  linen  or  cotton:  pre- 
pare three  suds  or  soap  baths  (soap  and  water);  dip  the 
bag  in  the  first;  beat  it  between  the  hands,  and  when 
the  soap  and  water  is  dirty,  do  the  same  with  the  se- 
cond and  third  portion  of  soap  and  water:  then  rince 
the  bag  in  very  clear  water;  then  in  clear  hard  water 
wnth  a few  drops  of  Saxon  blue  in  it.  Others  wash  the 
gauzes  in  two  soap  baths,  then  boil  them  in  a third  with 


471 


a little  powder  blue,  for  near  an  hour;  then  they  press 
out  all  the  soap  suds,  and  dry  the  gauzes  and  expose 
them  to  sulphur.  They  then  stiffen  them  with  a solu- 
tion of  gum  tragacanth  filtered  through  fine  linen. 

After  this  cleaning  and  blueing,  have  ready  a frame 
on  which  you  stretch  some  clean  white  linen:  to  this 
linen  tightly  stretched,  keeping  all  the  threads  perfectly 
even,  pin  your  gauze,  using  the  same  precautions  with 
that  also,  so  that  there  are  no  creases  or  waving  and 
irregular  threads:  then  slightly  moisten  the  gauze  with 
a sponge  dipped  in  a weak  solution  of  filtered  gum 
tragacanth;  only  take  care  that  it  does  not  stick  to  the 
cloth,  to  which  it  is  pinned.  (You  can  pass  a clean 
ivory  paper  cutter  between  the  gauze  and  the  cloth. 
T,  C.)  When  dry,  take  off  the  gauze  and  make  it  up. 
The  gauze  may  be  gummed  before  you  pin  it  to  the 
cloth. 

' When  you  wish  to  stiffen  the  gauze  very  much 
(platier  le  gaze)  dissolve  some  starch  in  water  wherein 
you  have  previously  dissolved  some  gum  tragacanth. 
The  thicker  the  composition  the  stronger  the  gauze. 
You  may  in  this  way  make  large  pieces,  by  fixing  a 
chase  (chassis)  of  two  or  three  ells  long  on  a tressel. 
Attach  the  gauze  by  pinning  the  selvages,  and  when 
stiffened,  dry  it  by  passing  over  it  a warming  pan  or  a 
frying  pan  containing  some  hot  coals.  When  one  set 
of  gauzes  thus  treated  is  finished,  begin  another  and 
so  on. 

When  a person  is  used  to  this  method  of  getting 
up  gauze,  it  can  be  done  still  quicker  by  an  oar  (une 
rame)  and  the  work  is  better.  But  when  the  operation 


/ 


472 


is  performed  on  the  entire  piece  of  gauze,  which  is 
usually  woven  with  unbleached  silk,  before  you  finish 
the  gauze  as  here  directed,  you  must  wash  it  with 
soap  and  water  to  get  out  the  gum. 

Silk  stulfs  most  easily  cleaned  are  satins,  India  taffe- 
tas, and  damasks.  Pekins  and  Italian  taffetas  may  also 
be  cleaned,  but  are  never  so  well  fulled,  or  re-dyed. 
They  should  be  cleaned  dry,  with  essential  oils,  while 
the  others  may  be  washed  even  without  any  fraying; 
only  detach  the  grease  spots  first  with  essential  oil. 

Silk  stuffs  without  colours,  are  sufficiently  cleaned 
by  Washing  in  three  separate  suds  or  baths  of  soap 
and  water;  or  the  last  may  be  employed  for  boiling  the 
stuffs  in  it.  When  dry  they  are  stiffened,  with  a weak 
solution  offthe  whitest  gum  tragacanth. 

Brown  silks  can  be  cleaned  with  ox-gall;  so  also 
can  stuffs  of  delicate  colours  and  the  lighter  articles  of 
silk,  such  as  taffetas:  when  well  cleaned  and  stiffened, 
they  look  as  good  as  new. 

The  thicker  furniture  silks,  damasks  and  such  like, 
should  be  cleaned  with  a soft  brush  before  they  are 
fulled  (washed.)  They  must  be  well  rinced  out  of  the 
soap  and  water,  except  those  parts  that  are  destined  to 
be  brim  stoned,  which  should  always  take  place  before 
rincing.  These  more  substantial  silks,  are  never  stif- 
fened but  by  the  rollers  or  the  calender. 

The  calenders  know  how  to  water  the  silks  intend- 
ed to  be  so  treated.  All  silk  stuffs  intended  to  be  dyed 
over  again,  should  be  well  cleaned,  and  then  undergo 
a boiling  in  soap  and  w'ater;  for  soap  is  friendly  to 
silk,  and  the  boiling  gives  a lustre  which  the  silk 


would  not  otherwise  possess.  But  before  dyeing,  the 
soap  must  be  well  washed  out. 

When  silk  goods  are  dyed,  and  have  for  that  pur- 
pose been  previously  alumed,  all  the  alum  must  be 
scrupulously  washed  out,  otherwise  it  would  counter- 
' act  the  operation  of  stiffening  and  finishing;  the  gum 
i and  the  alum  would  unite,  and  produce  a muddiness 
of  appearance.  Hence  after  dyeing,  they  should  be 
i boiled  in  hot  water. 

i Silks  re-dyed,  are  stiffened  either  stretched  upon 
cloth  on  a frame  or  (a  la  rame;  I do  not  understand  ’ 
this)  by  a solution  of  tragacanth. 

Many  scourers  use  Flanders  glue  for  all  kinds  of 
stiffening,  but  the  lustre  is  not  so  good  as  that  of  tra- 
gacanth; nor  is  there  any  economy  in  it,  for  gum 
tragacanth  goes  much  farther.  (I  cannot  conceive  how 
j Flanders  glue  can  answer,  for  it  is  hardly  equal  to  the 
] best  English  glue.  A glue  from  the  cuttings  of  white 
kid  gloves  may  answer.  T.  C.) 

I Fish  glue  is  also  used  (that  is  icthyocolla  or  isin- 
I glass,  T.  C.)  but  this  is  much  more  expensive,  and 
' can  only  be  afforded  for  Italian  gauzes,  and  ribbands. 
They  mix  also  spermaceti  with  isinglass,  to  give  a 
fine  pearly  white.  (This  is  a bad  practice,  it  attracts 
; the  dust  so  readily:  nor  indeed  will  it  dissolve  in, 
though  it  will  mix  with  fish  glue.  It  ought  not  to  be 
employed.  T.  C.) 

All  these  gums  and  glues  should  be  strained 
through  lawn. 

When  ribbands  have  to  be  dyed,  they  must  be 
cleaned  like  gauzes  in  two  or  three  fresh  suds  of  white 

3 O 


474 


soap,  in  a bag,  to  prevent  their  being  frayed.  (In 
pressing  out  the  soap  and  water,  it  must  be  done 
gently,  or  the  gauzes  and  ribbands  will  be  burst,  torn, 
or  frayed.  T.  C.)  The  ribband  dyers  clean  them 
usually  by  hand,  and  then  scrape  them  with  a knife, 
et  les  vaclent  ensuite  au  couteau:  that  is,  I presume, 
draw  them  under  a dull  knife  with  a smooth  edge 
gently  pressed  upon  the  ribband,  to  press  out  and 
scrape  off  all  the  soap  and  water,  and  smooth  the  sur- 
face. T.  C.) 

To  bleach  or  to  dye  ribbands,  follow  the  directions 
already  given  as  to  other  silk  goods. 

The  colour  most  in  use  for  dyed  ribbands,  are 
roses,  laylocks,  delicate  blues  and  greens,  and  all  the 
varieties  produced  by  archil. 

Blues  are  dyed  by  Saxon  blue,  that  is,  a solution  of 
indigo  in  oil  of  vitriol.  For  greens,  turmeric  is  added 
to  this  blue;  yellows  are  dyed  with  turmeric  in  spirit 
of  wine;  rose  colours  or  pinks,  with  carthamus  or 
safflower. 

You  find  among  the  colour  shops,  rose  pink  in  cups 
or  in  liquid,  expressly  for  the  purpose  of  dyeing  rib- 
bands. 

Orange  is  produced  by  annatto.  The  other  colours 
are  dyed  on  ribbands  as  they  are  dyed  on  silk:  for 
which  see  the  section  on  silk  dyeing.  When  the  rib- 
bands are  dyed,  they  must  like  silks  be  well  pressed 
to  get  rid  of  all  moisture;  for  which  purpose  they  must 
be  passed  through  rollers  of  hard  wood,  close  set  by  a 
screw:  this  squeezes  out  all  the  water  and  prepares 
them  for  the  finishing.  Drv  them:  stiffen  them  with 


475 


gum,  then  pass  them  through  cylinders,  the  one  of 
polished  iron  the  other  of  paper.  This  is  the  best  me- 
thod: but  every  ribband  dyer  does  not  possess  cylin- 
ders of  any  kind.  In  this  case,  when  the  ribbands  are 
dry  after  stiffening,  they  are  sprinkled  with  water,  and 
wrapped  in  clean  linen  to  make  them  imbibe  the 
moisture  evenly;  then  they  receive  their  gloss  by  a hot 
iron  in  the  following  manner;  the  table  is  covered  with 
a smooth  old  cloth;  the  end  of  the  ribband  is*  placed 
on  this  cloth,  and  pressed  with  the  hot  iron;  a person 
takes  hold  of  the  short  end  of  the  ribband,  and  draws 
it  under  the  hot  iron  so  pressing  upon  the  ribband  in 
its  passage.  This  manceuvre  is  better  done  by  two  per- 
sons, but  can  be  managed  by  one  if  neeessary. 

If  instead  of  thus  drawing  the  ribband  under  the  hot 
iron,  you  pass  the  hot  iron  over  the  ribband,  the  gloss 
will  be  much  inferior,  and  the  marks  of  the  iron  will 
be  visible  on  the  ribband. 

Ribbands  can  also  be  printed  by  blocks  adapted  to 
their  size,  on  the  principles  of  chemical  printing,  and 
printing  en  jaspe,  or  by  sprinkling.  For  these  articles 
are  seldom  wanted  to  be  washed. 

To  dye  over  again  old  silk  garments,  take  care  first 
to  clean  them  perfectly,  and  then  rince  the  soap  well 
out  of  them.  They  can  then  be  dyed  on  the  principles 
of  silk  dyeing.  In  ihe  same  way  woollen  garments  can 
be  cleaned  and  re-dyed  on  the  principles  of  woollen 
dyeing:  but  before  they  are  dried  after  dyeing,  the 
knap  should  be  laid  with  teazle  or  cards;  and  then 
when  dry  they  should  be  pressed.  An  old  cloth  coat 
well  cleaned,  dyed,  and  finished,  may  be  made  almost 
as  good  in  appearance  as  a new  one. 


476 


Leather  gloves  and  garments  are  cleaned  by  wash- 
ing in  a ley  of  potash  weak  but  warm:  then,  in  two 
separate  soap  suds,  and  dried  upon  the  last  without 
rincing.  The  last  must  be  weak.  They  must  be  dried 
speedily,  turning  and  stretching  them  in  all  directions. 

M.  ChaptaVs  directions  for  cleaning  Woollen  and  other 
cloths:  from  the  Bulletin  des  Sciences. 

The  art  of  cleaning  cloth  presupposes  first,  a know- 
ledge of  the  various  substances  liable  to  occasion  spots 
upon  them;  secondly,  a knowledge  of  the  substances 
to  which  we  must  have  recourse  in  order  to  remove 
the  spots  produced  upon  the  cloth;  thirdly,  a know- 
ledge of  the  manner  in  which  the  colours  of  the  cloths 
will  be  affected  by  the  re-agents  meant  to  be  employed 
for  the  removal  of  the  spots;  fourthly,  a knowledge 
of  the  manner  in  which  the  cloths  themselves  will  be 
affected  by  the  substances  proposed  to  be  employed; 
fifthly,  we  should  know  how  to  restore  the  colour  of 
the  cloth,  when  rendered  faint  by  the  process  of  taking 
out  the  spots. 

Of  the  substances  which  occasion  spots  upon  cloths, 
some  are  easily  known  by  their  appearance,  for  in- 
stance, grease  of  every  kind:  others  produce  more 
complicated  effects,  such  are  acids,  alkalies,  perspira- 
tion, fruit,  urine. 

The  effect  of  acids  upon  blacks,  purples,  blues  (ex- 
cept indigo  blue  and  Prussian  blue)  and  some  other 
colours,  and  upon  all  those  shades  of  colour  which  are 
produced  by  means  of  iron,  archil,  and  astringent  sub- 
stances, is  to  turn  them  red.  They  render  yellows 

I 


I 


477 


more  pale,  except  the  yellow  of  annatto,  which  they 
turn  to  an  orange  (or  a salmon  colour.  T.  C ) 

Alkalies  turn  scarlet,  and  the  reds  produced  by 
brazil  or  logwood,  to  a violet  colour:  they  turn  green 
upon  woollens  to  a yellow  (that  is  when  the  blue  is  a 
Saxon  blue,  and  not  an  indigo  blue,  T.  C.)  and  they 
give  a reddish  cast  (not  red,  but  brown,  T.  C.)  to  the 
yellow  produced  by  annatto. 

The  effect  of  perspiration  is  the  same  nearly  as  that 
of  alkalies.  (Owing  to  the  ammoniacal  salts  contained 
in  perspirable  matter,  as  in  urine.  T.  C.) 

Spots  that  are  produced  upon  cloths  by  simple  sub- 
stances, are  easily  removed  by  well  known  means. 

Greasy  substances  are  removed  by  alkalies,  by  yolk 
of  egg,  or  by  fat  earths;  (that  is,  pipe  clay,  fullers’ 
earth,  loams  or  earths  containing  much  clay,  which 
greedily  absorbs  moisture  of  whatever  kind,  when  the 
clay  is  dry.  T.  C.)  Oxyds  of  iron  are  removed  by  ni- 
tric or  by  oxalic  acid.  Spots  occasioned  by  acids  are 
removed  by  alkalies  and  vice  versa.  (I  advise  the 
reader  to  follow  Homassel  on  these  points.  T.  C.) 

Spots  caused  by  fruit  upon  white  cloth  are  removed 
by  sulphureous  acid,  or  what  is  still  better,  by  oxy- 
muriatic  acid.  (Put  a silver  or  pewter  plate  over  a tea 
pot  so  that  it  can  be  heated  by  the  steam;  lay  the  spot 
on  the  hot  metal,  and  moisten  it  with  lemon  juice.  If 
you  stain  your  table-cloth  with  red  wine,  pour  white 
wine  on  it;  or  water;  or  sprinkle  it  with  salt;  to  get  it 
finally  out  hold  it  over  steam,  moistening  it  with  lemon 
juice:  or,  moisten  it  with  oxymuriatic  acid.  T.  C.) 

But  when  the  spots  are  of  a complicated  nature. 


478 


various  means  must  be  tried  successively.  Thus  to 
remove  a spot  occasioned  by  the  coomb  of  carriage 
wheels,  we  must  first  dissolve  the  alkali  by  some  of 
the  means  above  mentioned,  and  then  take  away  the 
oxyd  of  iron  by  oxalic  acid.  (The  reader  will  certainly 
fail  if  he  follows  Chaptal.  There  is  no  alkali  in  ihe 
coomb  of  carriage  wheels:  cart  grease  is  made  by  boil- 
ing tar  in  animal  fat;  the  friction  intermixes  with  it 
minute  particles  of  metallic  iron  abraded  from  the 
axle-tree.  Carriages  of  pleasure,  are  oiled  or  greased, 
and  this  oil  or  grease  is  coloured  by  abraded  iron. 
Warm  oil  of  turpentine  is  the  proper  application. 
T.  C.) 

The  colours  of  the  cloths  are  often  injured  by  the 
re-agents  made  use  of.  In  order  to  restore  them,  we 
must  thoroughly  understand  the  art  of  a dyer,  and 
know  how  to  modify  the  means  according  to  the  cir- 
cumstances. This  is  sometimes  difficult,  because  it  is 
necessary  to  produce  a colour  similar  to  that  of  the 
rest  of  the  cloth,  and  to  apply  that  colour  to  a particu- 
lar part  only.  Sometimes  also  the  mordant  which  fixed 
the  colour,  or  the  basis  which  heightened  it,  has  also 
been  destroyed  and  must  be  restored.  It  is  evident 
that  in  this  case,  the  means  to  be  employed  to  restore 
the  colour,  must  depend  upon  the  nature  of  the  co- 
lour, and  the  means  employed  to  produce  it;  for  it  is 
well  known  the  same  colour  can  be  produced  by  se- 
veral ingredients  different  from  each  other. 

Thus  when  after  having  made  use  of  an  alkali  to 
remove  an  acid  spot  upon  brown,  violet,  or  blue  cloth, 
&c.  there  remains  a yellow  spot,  the  original  colour  is 


479 


again  produced  by  means  of  a solution  of  tin.  (I  do 
not  know  that  it  is  so.  T.  C.)  A solution  of  sulphat  of 
iron  restores  the  colour  to  those  brown  cloths  that  have 
been  dyed  with  galls.  Acids  give  to  yellow  cloths 
which  have  been  rendered  dull  or  brown  by  alkalies, 
their  original  brightness.  When  black  cloths  dyed 
with  logwood  have  any  reddish  spots  occasioned  by 
acids,  alkalies  turn  such  spots  to  a yellow  colour, 
and  a little  of  the  astringent  principle  turns  them  black 
again.  A solution  of  one  part  of  indigo  in  four  parts 
of  sulphuric  acid,  properly  diluted  in  water,  may  be 
successfully  applyed  to  restore  a faded  blue  colour  on 
wool  or  cotton.  I’ed  or  scarlet  colours  may  be  restored 
by  means  of  cochineal,  and  a solution  of  muriat  of  tin. 
(With  a fourth  part  nitric  acid.  T.  C.) 

The  choice  of  re- agents  is  not  a matter  of  indiffer- 
ence; vegetable  acids  are  generally  preferred  to  mine- 
ral ones.  The  sulphureous  acid  however,  may  be  used 
for  stains  made  by  fruit;  it  does  not  injure  blue  upon 
silk,  or  the  colours  produced  by  astringents,  nor  does 
it  affect  yellow  upon  cotton.  (It  affects  them  all,  but 
less  than  the  sulphuric  acid.  The  best  form  of  sul- 
phureous acid,  is  to  burn  a match  under  the  spot. 
Where  this  cannot  be  done,  and  be  limited  to  the 
place,  which  in  general  it  can  be  by  smearing  the  stuff 
next  the  boundaries  of  the  spot  with  paste,  make  your 
sulphureous  acid  by  adding  sugar  to  oil  of  vitriol. 
T.  C.) 

The  volatile  alkali  of  hartshorn  or  ammonia,  suc- 
ceeds better  than  the  fixed  alkali  of  soda  or  pearl  ash, 
in  removing  spots  produced  by  acids.  It  is  usually 


480 


made  use  of  in  the  form  of  vapour,  and  acts  quickly, 
seldom  injuring  the  colour  of  the  cloth.  (Place  a vial 
containing  salt  of  hartshorn  or  spirit  of  sal  ammoniac, 
in  a tin  can  containing  boiling  vrater:  take  out  the 
cork,  and  lay  the  stain  on  the  mouth  of  the  vial.  T.  C.) 

The  means  of  removing  grease  are  well  known; 
namely  alkalies,  fullers’  earth  (pipe  clay,  soap  stone, 
T.  C.)  essential  oils  dissolved  in  alcohol,  a sufficient 
degree  of  heat  to  render  the  grease  volatile.  (This  will 
make  it  spread.  Proceed  thus:  take  away  mechanically 
by  means  of  a knife  all  the  grease  you  can:  then  cover 
the  spot  with  pipe  clay,  fullers’  earth,  or  scraped  soap 
stone,  or  French  chalk.  Press  a piece  of  blotting  paper 
, on  it  and  below  it;  hold  a hot  iron  over  it,  till  part  of 
the  grease  is  absorbed  by  these  substances.  With  a 
fine  rag  rub  out  the  rest  by  means  of  warm  oil  of  tur- 
pentine. T.  C.) 

Spots  of  ink,  or  any  other  stains  occasioned  by  the 
yellow  oxyd  of  iron,  (iron  moulds),  may  be  removed 
by  oxalic  acid  (salt  of  sorrel,  or  lemon  juice,  T.  C.) 
the  colour  may  be  restored  by  alkalies,  or  by  a solu- 
tion of  muriat  of  tin.  (I  doubt  this.  T.  C.)  Such  spots' 
may  also  be  taken  away  by  oxymuriatic  acid,  when 
they  are  upon  white  cloth,  or  upon  paper.  (The  prac- 
tice of  the  bleachers  in  taking  out  iron  moulds  I haVe 
already  given  in  my  remarks  on  Homassel. 

The  effect  of  alkalies  and  that  of  perspiration  is  the 
same:  their  spots  may  be  removed  by  acids,  or  even 
by  a dilute  solution  of  muriat  of  tin. 

When  the  spots  are  owing  to  various  unknown 
causes,  we  must  have  recourse  to  compositions  pos- 


481 


sessing  various  powers,  of  which  the  following  may 
be  considered  as  one  of  the  most  efficacious.  Dissolve 
some  white  soap  in  alcohol;  mix  with  this  solution, 
four  or  five  yolks  of  eggs;  add  gradually  some  spirit 
of  turpentine,  and  then  stir  into  the  mixture  such  a 
quantity  of  fuller’s  earth,  as  will  suffice  to  make  it  up 
into  balls.  Rub  the  spots,  previously  well  wetted  with 
water,  with  these  balls;  after  which  the  cloth  is  to  be 
well  rubbed  and  washed.  By  these  means,  all  kinds  of 
spots  except  those  occasioned  by  ink  or  some  other  so- 
lution of  iron,"  will  be  removed. 

The  washing  of  the  cloth  takes  oft'  its  gloss,  and 
leaves  a dull  spot  disagreeable  to  the  eye.  The  gloss 
may  be  restored  by  passing  in  a proper  direction  over 
the  washed  part  of  the  cloth,  a brush  wetted  with  a 
very  dilute  solution  of  gum  water;  then  laying  on  the 
part  a sheet  of  paper,  a piece  of  cloth,  and  a considera- 
ble weight,  which  are  to  remain  there  till  the  cloth  is 
quite  dry. 

Such  are  the  directions  of  Chaptal,  which  however 
savour  more  of  theory  than  experience;  but  many 
things  are  worth  attention  in  them.  Homassel  is  more 
to  be  depended  on.  Some  person  obtained  a premium 
in  London  a few  years  ago,  for  cleaning  cloths  with 
the  expressed  juice  of  potatoes.  T.  C.) 


3 P 


APPENDIX. 


On  the  Colours  produced  on  Woollen^  by  means  of  various 
plants.  From  JJ^Ambourney,  of  Rouen. 

This  gentleman  instituted  a set  of  experiments  to  ascertain 
what  permanent  colours  could  be  produced  by  means  of  plants, 
chiefly  those  in  common  use,  and  easily  procured.  They  appear 
to  be  made  with  considerable  care,  and  were  deemed  of  such 
importance  as  to  be  published  by  order  of  the  French  govern- 
ment, under  the  administrationship  of  M.  Calonne,  in  1786. 

I have  already  intimated  my  opinion,  that  a few  drugs  in  com- 
mon use  and  well  known,  whether  of  foreign  or  domestic  growth, 
would  better  answer  the  purpose  of  a dyer,  than  a multiplicity  ot‘ 
dye  stuffs  whose  virtues  were  not  ascertained  with  equal  preci- 
sion, and  which  produced  no  better  effect  at  the  same  price  than 
the  drugs  in  use.  The  more  chemical  knowledge  extends,  the 
more  will  the  Materia  Tinctoria,  like  the  Materia  Medica,  be 
reduced  in  number  and  in  price. 

But  these  observations  ought  not  to  extend  to  the  experiments 
of  the  laboratory,  the  true  source  of  future  improvement  in  the 
art  of  dyeing.  The  experiments  and  perseverance  of  Dr.  Ban- 
croft has  sent  into  every  dye  house,  and  every  printing  shop  in 
Europe,  without  any  exception,  an  article  so  common  in  the 
American  woods,  that  it  was  never  noticed  here,  though  a che- 
mist could  hardly  pass  by  a tanner’s  establishment  without  being- 
struck  with  the  colour  of  the  skins.  I mean  the  quercitron,  or 
bark  of  the  common  American  black  oak.  This  drug  has  nearly 
superseded  weld  and  fustic,  both  in  the  woollen  and  the  cotton 
dye;  in  so  much,  that  I may  venture  to  say,  not  one-fiftieth  part 
of  those  drugs  are  now  used  in  England,  France,  and  Germany, 
that  were  used  thirty  years  ago. 

The  experiments  of  D’Ambourney  on  the  birch,  the  Lombardy 


483 


poplar,  and  the  black  alder  in  particular;  the  use  of  walnut  peel, 
and  of  soot  on  the  continent  of  Kurope,  so  little  employed  in  En- 
gland and  this  country,  promise  improvements  in  dyeing  by 
means  of  common  and  cheap  articles,  by  no  means  to  be  slighted 
or  overlooked. 

Homassel,  or  Bouillon  Le  Grange  for  him,  have  republished 
the  kind  of  abridgment  of  D’Ambourney’s  experiments,  which 
D’Ambourney  himself  inserted  at  the  end  of  his  book:  this  pre- 
sents a general  idea  only  of  what  vegetables  may  be  employed 
in  dyeing,  but  does  not  afford  information  sufficiently  accurate 
for  a dyer  to  follow  at  once.  I shall  republish  this  abridgment 
with  the  English  names  of  the  plants,  not  so  much  for  the  use 
of  the  dyer  as  of  the  experimentalist;  and  to  open  a door  to  a 
kind  of  knowledge,  which  our  own  country  is  better  calculated  to 
afford  than  any  other,  and  to  an  employment  for  leisure  hours, 
in  a very  high  degree  amusing,  interesting,  and  instructive. 

The  mordants  employed  by  D’Ambourney  were  not  well  cal- 
culated for  the  dyer’s  work  shop:  they  were  the  following: 

1.  Bismuth  dissolved  in  single  aqua  fortis:  of  this  solution  one 
part,  with  brine  of  common  salt,  two  parts,  and  tartar  in  powder, 
one  part,  was  used  to  woollen  sixteen  parts  by  weight.  Water,  as 
much  as  necessary. 

2.  A solution  of  tin  made  by  dissolving  four  ounces  of  sal 
ammoniac  and  nine  ounces  of  grain  tin  in  four  pounds  of  single 
aqua  fortis.  Five  pounds  and  one  ounce  of  this  solution,  with  an 
ec^ual  quantity  of  tartar,  and  twice  the  quantity  of  brine,  formed 
the  mordant  for  sixty  pounds  weight  of  cloth. 

3.  A solution  of  tin  in  aqua  fortis  and  common  salt. 

4 and  5.  Another  solution  of  tin  with  less  tin:  both  hot  and 
cold. 

6.  A solution  of  tin  with  a small  quantity  of  gold,  in  aqua  regia. 

7.  Tin  dissolved  in  strong  muriatic  acid  only. 

8.  Tin  dissolved  in  nitro-muriatic  acid;  nitrous  acid,  one  part; 
muriatic  acid,  one  part;  tin,  one-eighth  of  a part. 

9.  Tin  dissolved  in  various  proportions  in  nitro-muriatic  acid, 
wherein  the  muriatic  was  one-third  of  the  nitrous. 

10.  Solution  of  nitrat  of  copper. 

11.  Muriatic  solution  of  iron. 

12.  Solution  of  three  pounds  of  red  argol  or  tartar  in  boiling- 
water,  and  nine  pounds  of  alum,  for  sixty  pounds  of  cloth. 

It  is  evident  that  the  experiments  are  less  valuable,  in  proper- 


484 


tion  as  you  employ  new,  unusual,  and  expensive  mordants;  so 
that  M.  D’Ainbourney’s  experiments  do  not  bear  upon  practice 
so  much  us  they  might  do. 

I have  had  a good  deal  of  experience  in  this  kind  of  experiment 
myself,  and  I feel  myself  therefore  entitled  to  offer  to  others  who 
would  pursue  the  same  very  entertaining  employment  of  leisure 
hours,  the  following  advice. 

The  object  is,  not  so  much  to  procure  brilliant  colours,  as 
permanent  colours:  by  permanent  colours  meaning  always  such 
as  will  stand  the  three  tests  of  air,  soap,  and  acids. 

The  substances  to  be  dyed  may  be  confined  to  woollen  and 
cotton.  The  mordants  ought  to  be  the  mordants  in  common  use. 
I have  a very  high  opinion  of  nitrat,  and  nitro-muriat  of  bismuth; 
and  also  of  nitrat  of  iron;  but  I fear,  the  necessary  attention  to 
economy  will  confine  their  utility  to  brilliant  colours,  and  very 
high  priced  goods.  They  ought  to  be  the  subjects  of  a separate 
set  of  comparative  experiments. 

For  experiments  on  Woollen,  take  well  scoured,  clean,  white 
flannel  as  the  subject  to  be  dyed.  Boil  it  in  clean  snow  or  rain 
water  for  half  an  hour.  Take  it  out,  wring  it,  dry  it.  Water  of 
calcareous  soils  will  modify  the  effect  of  the  colouring  sub- 
stances employed;  not  so  the  water  of  mountainous  and  siliceous 
soils.  Of  such  flannel,  take  any  quantity  of  a given  weight,  as 
one,  two,  three,  or  four  pounds. 

1.  Let  it  soak  in  the  common  boiling  hot  mordant  of  alum 
three  ounces  and  a half,  to  finely-powdered  tartar  one  ounce  and 
a half,  for  each  pound  of  cloth.  It  may  remain  covered  up  for 
twelve  hours.  Then  take  it  out,  wring  it  moderately,  rince  it  in 
cold  water  mo'Jeratel)s  and  dry  it  not  perfectly,  but  so  as  to  be 
slightly  damp,  and  keep  it  in  an  under-ground  room.  Tartar  in 
j>roportion  of  one-third  of  the  alum  I consider  as  too  small,  in 
the  proportion  oi  one-half,  rather  too  much;  that  is,  as  a general 
rule.  Alum  without  the  tartar,  crystallizes  too  readily,  gives  the 
cloth  a harshness  to  the  touch,  and  though  the  colours  are  equally 
full  in  most  cases,  they  are  not  equally  bright.  I do  not  believe 
that  any  decided  decomposition  of  the  alum  takes  place  without 
the  intervention  of  the  cloth;  and  perhaps  too,  not  without  the 
further  intervention  of  colouring  matter.  But  these  facts  have 
not  yet  been  chemically  ascertained;  and  every  chemist  knows 
the  obscurity  that  yet  hangs  about  the  operation  of  common  tar- 


485 


lar  in  the  silvering  of  brass  and  copper,  and  the  tinning  of  brass 
wire  for  pins. 

2.  Mordant  for  woollens.  To  a pound  of  aqua  fortis,  add  a 
pound  of  pure  clean  rain  water,  and  two  ounces  of  sal  ammo- 
niac. In  this  mixture,  slowly  dissolve  two  ounces  ol  gram  tin, 
then  add  one  ounce  of  powdered  white  tartar.  When  you  dye 
with  the  woods  or  plants,  first  let  the  cloth  stay  for  fifteen  mi- 
nutes in  this  solution  diluted,  using  it  in  the  proportion  of  one- 
fifth  or  one-sixth  part  the  weight  of  the  cloth.  Then  having 
soaked  it  in  this  solution  and  dried  it  moderately,  enter  it  into  a 
hot  decoction  of  the  plant,  and  when  it  has  taken  up  as  full  a co- 
lour as  it  will,  take  it  out  of  the  decoction,  rince  it  well  in  cold 
water,  soak  it  again  in  the  mordant  and  dye  it  again.  Then  wash 
it  well  and  dry  it,  as  a specimen  of  the  colour  with  the  tin 
mordant. 

3.  From  some  experiments  I have  made,  I believe  the  tin 
mordant  may  be  as  usefully  prepared  in  the  following  as  in  any 
other  way,  but  it  is  not  the  actual  dyer’s  practice;  which  the  pre- 
ceding method  approaches  as  far  as  may  be:  except  that  I have 
directed  the  usual  dose  of  tartar  to  be  put  to  the  mordant  instead 
of  putting  it  to  the  dye  stuff,  as  in  the  scarlet  dye. 

Make  an  aqua  regia  thus.  Muriatic  acid,  from  iron,  three 
parts;  nitric  acid,  one  part.  Dissolve  slowly  as  much  tin  as  it  will 
take  up,  pour  it  off  clear,  and  then  add  muriatic  acid  in  like  pro- 
portion to  the  amount  of  one-sixth  in  quantity  of  the  solution,  so 
that  there  shall  be  an  excess  of  acid.  Of  this,  when  diluted  with 
an  equal  quantity  of  water,  employ  one  part  by  weight  to  six  or 
eight  parts  of  cloth. 

But  the  second  process  being  the  process  of  practice,  I should 
upon  the  whole  prefer  it.  We  sadly  want  a judicious  set  of  ex- 
periments on  mordants.  Indeed  no  man  but  a dyer  by  practice 
and  a good  chemist  into  the  bargain,  can  even  guess  at  the  mul- 
titude of  desiderata  in  the  art  of  dyeing;  and  how  little  we  know 
about  it  as  yet. 

These,  with  iron  and  copper,  will  be  mordants  enough  for 
woollen.  The  pieces  of  flannel  used  for  these  experiments  should 
be  not  more  than  six  inches  square,  cut  off  after  the  cloth  has 
been  mordanted  with  alum  and  tartar,  but  divided  before  the  tin 
mordant  is  used.  The  weight  of  each  piece  may  be  ascertained 
by  weighing  the  whole  piece  first.  s 

4.  Dissolve  four  ounces  of  green  copperas  in  a pint  of  water, 


486 


and  add  <wo  ©unces  of  finely  powdered  tartar.  Stir  them  till  dis- 
solved; this  will  be  the  utmost  proportion  for  one  pound  of  cloth. 

Mordant  the  cloth  with  this  in  all  proportions,  (noting  them) 
and  mix  it  also  occasionally  with  the  alum  and  tartar  mordant, 
wherever  you  want  saddened  colours,  as  is  done  in  practice  for 
olives  and  drabs. 

5.  Make  a similar  mordant,  using  blue  instead  of  green  cop- 
peras. 

Secondly.  Mordants  for  Cotton. 

1.  Take  a given  weight  of  callicoe  well  bleached.  Immerse 
it  for  six  hours  in  water  acidulated  with  sulphuric  acid;  to  wit, 
one  part  oil  of  vitriol  to  fifty  parts  water.  Take  it  out,  wash  it 
perfectly  and  scrupulously.  This  is  necessary  to  dissolve  any  al- 
kaline or  earthy  mordant  which  the  cloth  in  bleaching  is  apt  to 
imbibe.  The  callicoe  printer  never  dispenses  with  this. 

2.  Make  a mordant  merely  of  alum:  using  four  ounces  of  alum 
to  one  pound  of  callicoe,  and  soak  your  callicoe  in  this  mordant 
boiling  hot,  for  six  hours.  Keep  it  in  a damp  place. 

3.  Make  a mordant  of  acetat  of  alum,  as  in  common  practice, 
though  it  be  not  perfect:  but  for  these  experiments  common 
practice  is  the  best  foundation  to  build  upon:  thus, 

Take  one  part  by  weight  of  alum  finely  powdered;  dissolve  it 
in  as  much  hot  water  as  is  necessary,  and  no  more;  that  is  five 
pints  of  water  and  half  a pint  of  vinegar  to  one  pound  of  alum. 
Then  add  to  it  three-fourths  of  a part  of  sugar  of  lead:  stir  them 
well,  let  them  settle,  pour  off  the  clear  liquor  after  the  sediment 
has  settled  for  a day:  add  to  each  pint  of  the  clear  liquor  four 
ounces  of  gum  arabic,  bruised  into  a coarse  powder;  keep  stirring 
it  occasionally  until  dissolved. 

Divide  your  callicoe  so  cleared  by  an  acid,  into  pieces  of  four . 
or  six  inches  square.  In  the  middle  of  each  piece  print  a figure 
or  make  a spot  with  your  thickened  acetat  of  alumine.  Let  it  dry. 
Then  let  it  soak  for  half  an  hour  in  a liquor  composed  of  one  part 
by  measure  of  fresh  cow  dung  to  four  parts  boiling  water.  Then 
take  out  the  piece:  rince  it:  dry  it:  lay  it  by  for  use,  to  be  dyed 
in  the  decoction  of  the  proposed  vegetable.  Boil  it,  or  rather 
keep  it  in  a full  scalding  heat  of  the  decoction  for  an  hour.  Then 
boil  it  in  bran  and  water,  and  bleach  it  in  the  air  for  a day. 

4.  Make  a mordant  of  iron  in  the  acetous  acid  thus:  dissolve 
in  four  parts  by  weight  of  hot  water  one  part  of  green  copperas; 
add  more  water  if  necessary  when  cold,  to  keep  it  in  solution.  To 


487 


this  solution  add  an  equal  weight  of  sugar  of  lead.  Let  the  sedi- 
ment subside,  thicken  the  clear  liquor  with  gum  arabic,  and  use 
it  on  the  callicoe  in  the  same  manner  as  you  use  the  acetat  of  alu- 
mine.  This  will  be  the  same  with  the  common  iron  liquor. 

You  may  mix  these  two  mordants  at  your  pleasure,  so  as  to 
produce  browns,  purples,  and  chocolates,  with  reds;  and  olives, 
drabs,  See.  with  yellows.  So,  you  may  use  for  mordanting  the 
Avhole  piece  of  callicoe,  sulphat  of  iron  (green  copperas)  either 
mixed  or  unmixed  with  common  alum-solution:  for  the  colours 
are  thus  greatly  varied  with  the  same  drug,  or  colouring  ma- 
terial. 

These  mordants  might  be  increased  in  number,  and  varied; 
but  then  the  experiments  would  become  too  complicated,  and 
would  vary  too  much  from  the  usual  and  approved  practice. 

I have  stated  in  the  beginning  of  this  work,  that  the  quantity 
and  brilliancy  of  the  colouring  matter  of  a dye  drug  might  be  as- 
certained by  a solution  of  acetat  of  alumine  or  rnuriat  of  tin 
generally  speaking.  I prefer  the  former,  particularly  for  cotton: 
but  the  muriat  or  nitro-muriat  of  tin  is  very  useful  for  colours  to 
be  applied  to  woollen. 

Make  a filtered  decoction  of  the  vegetable  to  be  tried:  drop 
into  it  a solution  of  acetat  of  alumine  not  thickened  with  gum, 
and  a little  diluted.  Or,  a saturated  solution  of  nitro-muriat  of 
tin,  wherein  the  muriatic  is  in  the  proportion  of  three  parts,  and 
the  nitric  acid  of  one. 

The  quantity  and  colour  of  the  colouring  matter  may  be  thus 
ascertained. 

Such  a course  of  experiments  with  the  woods,  herbs,  fruits  and 
flowers  of  our  own  country,  would  be  a very  valuable  and  inter- 
esting work:  that  ought  indeed  to  be  a national  work,  but  that  is 
not  to  be  expected. 

I have  already  mentioned  that  the  birch  tree,  and  the  Lombardy 
poplar,  promise  useful  and  permanent  colours,  and  deserve  to  be 
the  subject  of  many  experiments  not  yet  made,  particularly  in 
the  back  country,  for  which  these  experiments  seem  peculiarly 
calculated. 


488 


Table  and  Classification  of  Colours  procured  from 
Indigenous  Plants. 

According’  to  the  experiments  of  D’Ambourney. 

Homassel,  or  Bouillon  Le  Grange,  have  omitted  the  Linnaeaii 
names  of  the  vegetables,  which  I have  suppliecTfrom  D’Ambour- 
ney’s  original  work.  I cannot  always  answer  for  the  English 
names,  though  I believe  there  are  very  few  mistakes;  but  as 
I have  added  the  Linnaean  ones,  there  can  be  no  difficulty  to  a 
botanist.  ' 

Aurora,  i 

Golden-yellow  aurora,  from  the  stalks  and  fresh  leaves  of 
Bidens  trifiartita,  the  trifid  water  hemp  agrimony:  not  so  bright 
from  the  dry  plant. 

Tarnished,  from  the  yew  tree.  Taxus  baccata. 

Brilliant,  with  nitro-muriat  of  tin  and  alum  in  the  decoction  of 
the  same. 

From  the  dry  flowers  of  furze,  Ulex  Eurofixa,  with  a little 
madder. 

Cinnamon-aurora,  from  the  young  shoots  of  the  Lombardy 
poplar,  Fojmlus  Pyramidalis,  with  one  forty-eighth  of  madder. 

From  the  roots  of  a wild  apple-tree. 

Aurora-capuchine,  from  the  Virginia  sumach,  Rhus  Virginiana^ 
Stags-horns.  Quere,  if  this  be  also  the  Rhus  tyfihinum?  This 
required  two  baths. 

The  capuchin  tinge  increased  by  a small  quantity  of  madder. 

From  the  dry  straw  of  buckwheat,  with 

a nitro-muriat  of  tin. 

Rich  and  brilliant  with  nitro-muriat  of  tin  and  gold  from  the 
dried  straw  of  buckwheat,  the  fruit  of  the  berries  of  the  black 
berry-bearing  alder,  Rhamnus  frangula,  and  a little  madder. 

Blue. 

The  blue  vat,  Saxon  blue,  and  logwood  blue  as  usual. 

Logwood  blue,  made  more  solid  by  the  bark  of  the  birch  tree, 
Betula  alba,  with  the  nitro-muriat  of  tin. 

Bluish  gray,  from  the  common  black  elder  berries,  Sambucus 
nigra. 


I 


489 


Handsome  blue,  but  fugitive,  from  the  same  berries  and  sulphat 
of  copper. 

Browns. 

Rappie  snuff  brown:  fresh  alder,  Betula  alnus. 

Olive  brown,  from  the  shoots  of  jignus  castus. 

Deep  brown,  from  the  stalks  and  leaves  of  Leonurus  cardiaca., 
mother  wort. 

The  most  beautiful  and  solid  colour  from  fresh  walnut  peel. 

Puce-brown,  from  the  fresh  bark  of  the  black  walnut,  Juglans 
nigra. 

Same  from  the  shoots  of  the  marsh  elder,  or  Guelder  rose 
while  in  sap,  Viburnum  ofiulus. 

Gray-olive,  deep  brown,  from  the  stalks  and  leaves  of  Parieta- 
ria,  Pellitory  of  the  wall. 

Caca-Daufilnn,  or  Bright  Fanvn  Colour. 

Bright  greenish,  from  common  heath.  Erica  vulgaris,  and 
buckwheat  straw,  both  dry,  with  nitro-muriat  of  tin. 

Light  fawn,  from  buckwheat  straw  dried:  beautiful  with  solu- 
tion of  tin  and  gold. 

Olive  fawn,  from  dry  buckwheat  straw  and  dried  berries  of  the 
Rhamnus  frangula. 

Avanturin-fawn,  from  the  same,  with  bismuth  mordant. 

Cinnamon. 

From  the  shoots  of  the  rose-acacia,  Robinia  hispida,  with 
bismuth. 

From  the  shoots  of  the  apricot  tree. 

From  the  stem  and  roots  of  the  bilberry  or  whortle-berry,  \ 
Vaccinium  myrtillus. 

From  the  branches  of  the  broad-leaved  trumpet  flower.  Big- 
nonia  Catalpa. 

Rich,  from  a half  spent  bath  of  logwood  and  sumach  with  tin 
and  gold  solution. 

Light  nankin,  from  the  fresh  wood  of  the  common  horn  beam, 
Carpinus  Betulus,  barked. 

Yellowish,  (very  good)  from  the  Cyprus,  Cupressua  foliis 
acacia  deciduis:  Virginia:  mixed  with  the  dry  shoots  of  the  horn 
beam. 

From  the  roots  of  the  Fragaria  vesca,  or  strawberry. 

3Q 


490 


Reddish,  brilliant,  in  a fresh  bath  or  decoction  of  madder  with 
bismuth. 

Deep,  from  the  common  broom,  Spartium  scoparium. 

Reddish,  from  the  shoots  of  the  Grevia  occidentalisy  elm- 
leaved, with  purple  flowers. 

Mordore,  cinnamon,  from  the  bark  of  the  common  beech, 
Fagiis  xylvatica,  with  nitro-muriat  of  tin. 

Nankin,  from  the  green  stalks  of  the  hop,  Lupulus. 

Mordore,  from  the  roots  of  yew,  Taxus  baccata,  and  birch 
bark. 

Rich  colour,  from  the  dried  flowers  of  furze  and  a little  madder. 

Mordore,  from  the  shoots  of  the  Portugal  laurel. 

F rom  the  fresh  roots  of  Convolvulus  sepium,  great  bindweed. 

Light  rose-coloured  cinnamon  from  the  branches  of  Prunus 
Mahaleb,  perfumed  cherry. 

Same,  from  the  branches  of  the  sallow  or  black  willow,  Salix 
Capraa,  with  bismuth. 

Yellowish,  from  the  shoots  without  leaves  of  the  larch,  Pinus 
Larix,  with  bismuth  mordant.  Same,  from  the  wood  of  the  wild 
cherry  tree. 

Delicate,  from  the  bark  of  the  Dutch  medlar,  Mespilus  Ger- 
inanica,  with  bismuth. 

From  the  shoots  of  the  five-leaved  bladder  nut,  Staphylea 
Pinnata. 

Reddish,  from  the  barks  of  the  elm  and  birch. 

Light,  from  the  shoots  of  the  peach  tree. 

Golden, from thcripe  fruit  of  the  wake  robin.  Arum  maculatum. 

From  the  branches  of  a three  year  old  pear  tree. 

Rose  coloured,  from  the  shoots  of  Syringa,  Philadelphus  Coro~ 
narius. 

Carmelite. 

From  a mixture  of  shoots  of  alder,  a little  madder,  dry  berries 
of  the  black  alder,  and  shoots  of  Lombardy  poplar. 

From  a half  spent  bath  or  decoction  of  balsamine.  Impatient 
Balsamma,  then  in  the  decoction  of  black  alder  berries. 

From  wine  of  the  black  alder  berry  with  a little  madder. 

Light  from  dry  hay,  which  is  improved  greatly  by  a little 
madder. 

From  the  stalks  of  lavender. 

Rich  from  the  shoois  of  scarlet  flowering  chesnut,  Esculus 
octandra  Pavia,  with  dried  black  berries. 


491 


From  shoots  of  buckthorn,  Rhamnus  catharticusy  and  then  in 
madder. 

From  dried  wheat  straw,  a little  sumach,  and  solution  of  iron. 

From  the  Italian  or  Lombardy  poplar,  dried  berries  of  black 
alder,  madder,  and  solution  of  iron. 

Light  and  brilliant  from  buck-wheat  straw,  dried  black  alder 
berries,  Lombardy  poplar,  and  madder,  with  bismuth  mordant. 

At  once  from  buck-wheat  bran,  dried  black  alder  berries  and 
Lombardy  poplar. 

From  chimney  soot  (which  in  France  is  generally  wood  soot) 
madder,  dried  black  alder  berries,  and  poplar. 

From  red  clover  and  a little  madder. 

The  ivy  leaved  speedwell,  Veronica  hederifoliayiwvni^hts  a very 
good  ground  for  carmelites. 

Citron  or  Lemon  Yelloiu. 

From  the  young  branches  of  the  acacia.  Robinia  Caragagna  seu 
Sibirica, 

Greenish,  from  the  Aristolochia  clematitis,  Birthwort. 

From  the  shoots  of  the  Daphne  mezereum,  red  mezereon. 

From  the  branches  and  leaves  of  Guilandina  Dioicuy  Canada 
Bonduc. 

Brilliant,  from  the  common  heath,  Erica  vulgarisy  with  tin 
mordant. 

Brimstone,  from  the  green  leaves  of  myrrh,  Scandix  odorata. 

Light  citron,  from  the  meadow  saffron,  Colchicum  autumnale. 

From  the  Coronilla  glauca,  seven-leaved  Colutea. 

From  the  shoots  of  Cyprus. 

Brilliant,  from  the  counter  poison,  Asclepiaa  Vincetoxicum. 

From  the  shoots  of  the  hairy  broom,  Geyiiata  piloaa. 

From  the  dyers’  broom,  Geniata  tinctoria. 

From  the  musk  Geranium,  Geranium  moachatum. 

From  the  common  knapweed,  Centaurea  nigra. 

From  the  swamp  golden  rod,  Senecio  flaludoaus. 

From  the  common  yellow  jessamin  of  the  woods,  Jaaminum 
fruticana. 

From  the  Tagetea  patula,  (Oillet  d’Inde)  African  marigold? 

From  the  shoots  of  the  olive,  Olea  Eurofiaa, 

From  the  larger  nettle,  Uriica  dioica;  common  nettle. 

From  the  Scandix  ptcten  veneria^  a species  of  cicely. 


492 


From 


the  black  Virginia  poplar, 

Pojiulus  Balsami  fera,  Taca- 
mahac,  < 

white  poplar,  fiofiulus  alba^ 
aspen  tree,  fiofiulus  tremula, 


Solid  colours  on  wool 
mordanted  with  bis- 
muth, and  after  being 
dyed  run  through  tin 
solution.  The  older 
wood  gives  sadder  co- 
lours but  solid. 


From  larkspur,  Delfihinium  Jjacis  multifilex. 

From  the  green  leaves  of  pitch  pine,  Pinus  maritima. 

From  the  common  red  pepper,  Guinea  pepper,  Cafisicum  an- 
nuum:  (while  green.) 

From  the  leaves  of  the  potatoe. 

From  the  double  white  meadow  sweet,  Sfiiraa  ulmaria. 

From  the  China  aster.  Aster  Sinensis. 

From  the  green  stalks  of  rue,  Ruta  graveolens. 

From  buckwheat,  Pobjgonum  fagofiyrum,  twining  bindweed. 


polygonum  convolvulus,  on  wool  with  tin  mordant. 

From  African  ragwort,  Othonna  Cheirifolia. 

From  the  fresh  stalks  of  Canada  (common)  golden  rod,  Solida- 
go  Canadensis. 

From  the  leaves  of  the  same. 


Crimson. 

Venetian  scarlet,  from  brazil  wood  on  woollen,  grounded  with 
birch  bark,  after  being  mordanted  with  tin  solution. 

More  intense,  from  the  same,  using  only  a stronger  dose  of 
brazil  wood  of  Fernambouca,  called  amaranthine  brazil  wood. 

Less  brilliant,  when  the  colour  was  fixed  by  the  shoots  of  the 
birch  tree  instead  of  the  bark. 

Light  crimson,  by  birch  bark  and  wood  of  St.  Martha  (Ni- 
caragua.) 

Same  in  a half  spent  bath  of  the  same. 

Same  with  varied  proportions. 

Rose  red,  nearly  crimson  from  a decoction  of  birch  bark,  bra- 
zilletto,  and  alum. 

Less  brilliant,  from  brazilletto  and  alum  without  birch  bark. 

More  lively  and  solid  by  brazilletto,  birch  bark,  alum  and 
cream  of  tartar,  in  two  successive  baths. 

Same  in  the  same  bath  half  spent. 

From  Angola  wood  (Cam  wood,  the  most  lively  of  the  woods, 
T.  C.)  birch  bark  and  alum  in  the  same  bath  or  decoction. 


493 


Yellow. 

Two  dippings  in  a decoction  of  the  shoots  of  large  leaved  pri- 
vet, Khamnus  alaternus. 

Jonquil  yellow  from  the  straight  leaved  privet,  Alaternus  folio 
minore. 

From  the  shoots  in  leaf  of  the  American  arbor  vitae,  Thuya 
occidentalis . 

Jonquil  yellow,  from  the  shoots  of  Calycanthus  foridus,  Caro- 
lina alspice  foliis  internis  longioribus. 

From  two  baths  of  the  old  wood  of  acacia. 

July-flower  yellow,  from  the  bark  of  the  alder:  and  from  the 
leaves  of  artichoke. 

Bright  yellow,  from  the  shoots  of  Ceanothus  Americanus,  New 
Jersey  tea  iree. 

Olive  yellow,  from  two  baths  of  Canada  bonduc,  Guilandina 
Dioica. 

July-flower  yellow,  from  the  flowers  of  balsamine. 

Dull  yellow,  from  the  green  shoots  of  birch. 

Bright  yellow,  from  the  unripe  berry  ot  black  alder. 
July-flower  yellow,  from  the  common  heath  with  tin  mordant. 
Same  with  the  addition  of  black  alder  berries  ripe,  and  dried. 
Dull  capuchin  yellow,  from  the  ripe  berries  of  bryony. 
Chamoy  yellow,  from  beech-mast. 

Apricot  yellow,  from  alpine  chervil,  or  honeysuckle,  Lonicera. 
Golden  yellow,  from  the  male  dogwood,  Cornus  mas. 

From  turmeric,  altered  by  soap. 

From  the  trefoil  cytisus. 

From  fumitory,  fresh  and  dry. 

From  fustic  made  solid  by  birch  bark  with  tin  mordant. 

From  dry  weld;  better  from  green  weld. 

From  hairy  broom,  Genista  fiilosa. 

From  Genista  tinctoria,  dyers’  broom. 

Intenseolive  yellow,  from  herb  Robert,  Robertianum. 

Jonquil  yellow,  from  furze  fresli:  and  dry. 

From  the  bark  of  horse  chesnut. 

Apricot  yellow  from  the  bark  of  black  willow,  Salix  Cafirxa. 
Olive  yellow,  from  the  fresh  stalks  of  bucKthorn. 

Good  yellow,  from  the  Italian  aster,  starwort,  Aster  Amellus. 
Delicate,  from  the  bark  of  elm,  dried  black  alder  berries  and 
buckwheat  straw  with  tin  mordant. 

From  the  shoots  of  yellow  osier,  Salix  Vitellina. 


494 


Greenish  yellow,  from  fermented  pansy,  hearts’  ease,  Viola 
tricolor. 

From  the  larger  pusicaria.  Polygonum  orientate. 

From  the  bark  and  also  from  the  shoots  of  the  Italian  poplar, 
particularly  from  the  fresh  shoots  with  tin  mordant. 

Another  shade  with  the  same  and  dried  berries  of  black  alder. 
This  ingredient  is  economical  and  renders  other  colours  solid. 
Jonquil  yellow,  with  the  black  Virginia  poplar,  tin  mordant. 
From  the  fresh  plants  of  common  field  basil,  Clinofiodium  vul- 
gare. 

F rom  the  bark  of  pitch  pine. 

From  the  shoots  of  the  Indian  date  plum,  Placqueminier, 
Diosfiyros  Lotus. 

From  the  bark  of  the  plane  tree. 

From  the  roots  of  wild  apple. 

From  the  fresh  China  aster. 

From  the  Virginia  sumach  or  stagshorn  (Rhus  Virginiana.) 
From  the  fresh  flowers  of  African  marygold,  Tagetes  erecta. 
From  the  plants  nearly  dry  of  common  saw-wort.  Serratula. 

' From  wild  sage. 

From  the  white  willow,  Salix  alba. 

From  thyme. 

From  the  roots  of  tormentil. 

From  the  fresh  plants  of  yellow  trefoil. 

From  the  common  golden  rod,  Solidago,  Virga  aurea. 

IVine  Lees. 

Wool  mordanted  with  a precipitate  of  alum  and  tin  becomes  a 
deep  brown-red  in  a decoction  of  bran  of  sorgho. 

Mar  on.  Chesnut. 

From  the  Carolina  alspice,  Calycanthus  Jloridus. 

From  the  bark  of  common  maple. 

Deep,  from  brazil,  archil  and  madder. 

From  dry  hay  with  madder. 

From  madder  with  bismuth  mordant. 

From  beech  bark. 

From  horse  chesnut  bark,  scarlet  flowering  chesnut,  Esculus 
octandra. 

Reddish  from  Italian  or  Lombardy  poplar  and  madder. 


495 


From  the  dry  wood  of  the  apple  tree. 

From  the  bran  of  sorgho,  son  de  sorgho.  Millet? 

Merd’ore.  Goose  dung. 

From  the  shoots  of  the  snow  drop  tree,  Chiananthua  Virginiana. 
From  the  bark  of  alder. 

From  the  Aristolochia  clematitis,  birth  wort. 

From  the  restharrow,  Ononis  arvensis. 

From  the  common  southernwood,  Artemisia. 

From  the  Cucubalus  Behen,  bottle  campion. 

From  the  cow  wheat,  Melamfiyrum  nemorosum. 

Brilliant,  from  the  black  alder  berry,  with  mordant  of  blue 
copperas. 

Yellowish  from  terragon,  Artemisia  Dracunculus. 

From  the  Eufihorbia  Cyfiarissasy  a species  of  spurge. 

From  the  leaves  of  the  fig  tree. 

From  the  narrow  leaved  all-heal,  Galeofisis  Ladanum. 

From  the  cotton  weed,  Filago  Imfiia.  Quere  cudweed? 

From  the  Gnafolium  silvaticum,  wood  everlasting. 

From  the  common  red  rosebay,  JVerion  Oleander. 

From  the  Leonurus  marubiastrum.  Quere,  whether  horehound 
or  motherwort? 

From  ground  ivy,  Glecoma  Hederacea. 

From  black  horehound,  Manubium  nigrum. 

After  long  boiling  from  common  field  basil,  Clinojiodium  vuL- 
gare. 

From  marsh  horehound,  with  small  leaves,  Lycofius  fialustris 
glaber. 

From  the  Siberian  plum,  Prunus  Sibirica. 

From  wild  sage. 

From  stalks  and  leaves  of  rue. 

From  the  shoots  of  Rkus  coriaria,  true  sumach. 

Rich  colour  from  the  shoots  of  the  Sambucus  racemosa,  or  scar- 
let berried  alder. 


Mordare. 

From  the  straight  leaved  privet,  Rhamnus  alaternus;  three 
dippings. 

Light,  from  the  shoots  of  alder  with  a little  madder. 

From  the  bark  and  shoots  of  Crategus  oxiacanthoy  haw-thorn 
or  white  thorn. 


496 


P’rom  the  shoots  of  Christ’s  thorn,  Algalon^  Paliurus  aculeatus 
rhamnus. 

From  cinquefoil,  Potentilla  anserina,  the  leaves. 

Mordore  chesnut,  from  the  whole  plant. 

Almost  purple,  from  the  shoots  and  bark  of  the  birch  tree  with 
archil,  which  is  fixed  thereby. 

From  dried  black  alder  berries  and  a little  madder. 

Beautiful  from  the  shoots  of  the  flowering  Virginia  hornbeam, 
Carfiinus  Virginiana Jlorescens. 

From  dried  hay  with  madder;  the  decoction  somewhat  acidu- 
lated. 

Rich,  from  the  common  broom,  S/iarcium  scofiarium,  with  bis- 
muth. 

Better  still,  with  a mordant  of  tin. 

From  the  shoots  of  the  common  or  cherry  laurel,  Prunus 
laiiro-cerasus. 

Light  colour  from  Luzerne  (^medico)  and  madder. 

From  the  bark  of  horse  chesnut,  Msculus  hyfiocastanum. 

From  a half  spent  bath  of  Salix  cafircea,  black  willow. 

From  the  dried  shoots  of  buck  thorn,  Rhamnus  catharticus. 

From  the  bark  of  elm. 

From  the  shoots  of  yellow  osier,  Salix  Vitellina. 

From  the  Italian  poplar,  with  a little  madder  in  the  bath  when 
nearly  spent;  the  cloth  mordanted  with  blue  copperas. 

From  Italian  poplar,  brazil  of  Fernambouca,  and  dried  black 
alder  berries. 

From  the  bark  of  pitch  pine. 

From  the  fresh  bark  of  Geneva  pine,  Scotch  pine,  Pinus  syl- 
vestris. 

From  the  coloured  heart  of  the  wood  of  the  cultivated  plum, 
Prunus  domestica,  hedge  plum  or  white  bullace? 

From  the  fresh  shoots  of  Pyracantha. 

From  the  ripe  berries  of  the  bramble,  Rubus  fruticosus,  (Com- 
mon blackberry.) 


Musk. 

From  the  half  spent  decoction  of  the  large  leaved  privet. 
From  the  Thuya  Canadensis,  American  arbor  vitae. 

From  the  Thuya  Sinensis,  Chinese  arbor  vitae. 

From  a third  dipping  in  decoction  of  Carolina  alspice,  Caly' 
canthus  Jloridus. 


1 


\ 


497 


From  the  shoots  of  the  poison  tree  Rhus  toxicodendron. 

From  the  wood  of  the  jicacia,  in  strong  dose. 

From  the  flowers  of  altkaa  frutex,  Hybiscus  Syriacus. 

From  the  branches  of  Cratagus  corminalisf  wild  service. 

From  the  ripe  stalks  of  agrimony. 

From  the  shells  of  the  apricot  kernel. 

Musk-cinnamon,  from  the  shoots  of  bilberry,  Vaccinimn 
mxjrtillus. 

From  the  common  bladder  sena,  Colutea  arborescens. 

Chesnut  musk,  from  the  flowers  of  Ralsamine,  with  blue 
copperas. 

Golden,  from  roots  of  common  avens,  Geum  urbamim. 

From  betony. 

From  roots  of  bistort. 

From  wood  of  red  mezereon,  Dafihne  mezereon. 

From  the  shoots  of  black  birch,  Betulanigra. 

From  the  fine-leaved  heath,  Erica  cinerea. 

From  the  roots  of  asarabacca,  Azuram  Europium. 

From  the  lesser  Indian  cress,  Tropxolum  minus. 

From  black  currants. 

From  chesnut  bark. 

From  comfrey,  Symphytum  officinale. 

From  the  dogwood  of  New  Holland,  and  of  Virginia. 

From  common  Cyprus. 

From  the  Dierilla  acadiensis. 

From  the  fruit  of  the  sloe  or  black  thorn,  Prunus  sylveatris. 
From  Dutch  or  hemp  agrimony,  Eupatorium  cannabinum. 
Rich,  from  the  green  shoots  of  Venice  sumach,  Rhus  cotinus. 
Light,  from  the  nettle  hemp,  Galeopsis  tetrahit. 

From  a weak  bath  of  Genista  pilosa. 

From  the  large  flowering  geranium,  bloody  crane’s  bill,  Gera~ 
Tiium  aanguineum.  Also  from  Geranium  Robertianum, 

Beautiful,  from  the  dwarf  cistus,  Cistua  helyanthemum. 

From  hawk  weed,  Hieracium  majus. 

From  the  shoots  of  the  beech. 

From  rag  wort,  Senecio  jacobtea^  and  from  Senecio  palustris,  or 
marsh  golden  rod. 

From  elecampane.  Inula  dysenterica. 

From  wild  lettuce. 

From  the  broad-leaved  sweet  bay  tree,  Laurus  nobilis, 

3 R 


J 


y 


/ 


498 


From  the  young  leafy  branches  of  Liriodendron  tulififera, 
tulip  tree. 

From  yellow  toad’s  flax,  Antirrhinum  linaria. 

From  the  leafy  shoots  of  liquid  amber. 

From  the  shootsof  the  smaller  bind  weed,  Co72T)ofo2//«sart^(’?m’s. 
From  the  roots  of  Lysimachia  vulgaris,  loose  strife. 

From  the  young  leafy  branches  of  horse  chesnut,  JEsculus 
hyfiocastanum. 

Richer  colour,  from  the  scarlet  flowering  chesnut,  AEsculus 
Gctandra  fiavia. 

From  the  wood  and  bark  of  Salix  cafirsa,  black  willow. 

From  the  leafy  shoots  of  the  larch  tree,  Finns  Larix. 

From  the  stalks  and  leaves  of  water  mint,  Mentha  ayuatica. 
From  Mercurialis  annua. 

From  the  fresh  plants  of  the  greater  snap  dragon.  Antirrhinum 
majus. 

From  the  shoots  of  sweet  gale,  Myrica  gale. 

From  the  dry  roots  of  the  common  nut,  (walnut)  Juglans  regia. 
From  the  thick  bark  of  the  walnut  tree. 

4 

From  black  walnut  bark,  and  from  the  shoots  and  leaves,  fresh 
and  dry. 

From  the  red  fruits  of  the  Guelder  rose.  Viburnum  o/iuhts. 
From  the  stalks  of  common  marjoram,  Origanum. 

From  the  roots  of  sorrel,  Rumex  acetosella. 

From  the  roots  of  garden  patience,  Rumex  patientia. 

— bloody  dock,  Rumex  sanguineus. 

From  the  Virginian  silk,  Periploca  gneca. 

From  spignel,  pasil  de  montagne,  Athamanta  libanotis. 

From  the  barked  wood  of  the  Italian  poplar. 

Beautiful,  from  fresh  pimpernel. 

From  the  shoots  of  the  Indian  date  plum,  Diospiros  lotus. 
From  the  bark  of  the  plane  tree,  and  from  the  wood  and  bark. 
From  tl»e  flowers  of  piony. 

F rom  the  mark  or  pressed  fruit  of  the  pear. 

From  the  Campanula  or  bell  flower,  Pyramidalis. 

From  the  double  white  meadow  sweet,  Spireea  ulmaria. 

From  the  yellow  Ranunculus. 

From  the  stalks  of  rosemary. 

From  a weak  decoction  of  Tagctus  erccta,  African  marigold. 
From  the  shoots  of  the  yellow  Austrian  rose,  Rosa  lutea. 
From  Spanish  sain  foin,  Hedasyrum  coronarium. 


499 


From  the  leafy  shoots  of  purple  spiked  willow  herb,  Lxjthrum 
■^alicai-lia. 

From  the  tops  of  the  Pinus  abies,  or  fir  tree. 

From  the  fresh  stalks  of  buckwheat. 

From  the  stalks  of  climbing  bindweed,  Polygomnn  scandens. 
From  the  twining  bindweed,  Polygonum  coxivohndus. 

From  the  fresh  plant  of  knotty  fig  wort,  Sn-ojihularia  Tiodos(i. 
From  the  sun  flower. 

From  the  dry  flowers  of  the  common  black  elder,  and  from  its 
berries,  fermented  and  unfermented. 

From  the  dried  uncured  leaves  of  tobacco:  and  from  the  green 
leaves. 

Frcfm  the  stalks  of  tansy. 

Light  musk,  from  the  Thlaspi  aranse,  penny-cross,  a kind  of 
shepherd’s  purse. 

From  the  bark  of  the  roots  of  tormentil. 

From  the  conamon  native  golden  rod. 

From  vervain,  Verbena. 

From  vine  cuttings. 

From  the  ripe  berries  of  Sambucus  ebulus:  and  from  the  same 
dried. 

JVankin. 

From  the  shoots  of  the  Judas  tree,  Circis  siliguaatrum. 

.... rose  acacia. 

■ ■ Italia  azedarach,  Melia  azedarach. 

Dutch  medlar,  Mesfiilus  inermis. 

From  the  leafy  stalks  of  agrimony. 

From  the  New  Jersey  tea  tree,  apalachine,  Ceanothua  Ame<> 
ricanus. 

From  birch  bark. 

From  ripe  cherries. 

From  the  cherries  of  Zara. 

From  Dutch  or  hemp  agrimony,  Euliatorium  Cannabinum. 
From  red  gooseberries. 

From  the  flowers  of  the  queen’s  bean,  haricot  a la  reine, 
(kidney  bean  with  red  flower?)  Phaseolus  coccineus. 

From  the  hairy  trefoil,  Lotus  hirsutus,  or  hemorrhoidalis. 

From  the  European  nettle  tree,  Celtis  australis. 

From  the  wood  of  an  orange  tree. 

From  the  kernel  of  peaches. 

From  the  bark  of  all  the  poplars. 


500 


f rom  the  barked  wood  of  the  Scotch  pine,  Pinua  sysveatris. 
From  the  shoots  of  the  double  cinnamon  rose,  Rosa  China 
momea. 

From  the  barked  wood  of  the  willow. 

From  the  shoots  of  the  mountain  ash,  Sorbus  occufiaria. 

From  the  Guelder  rose,  Sfiircea  ofiuUfolia. 

Hazle-nut  Colour  lA'’oiselte.') 

From  the  shoots  of  button  wood,  Ce/ihalanthus  occidcntalis. 
From  the  bilberry  or  whortle-berry,  Vacciniitfn  myrthyllus. 
From  common  avens,  Geum  urbanum. 

From  the  catalpa. 

From  the  dry  white  birch,  Betula  alba. 

From  fresh  common  heath.  Erica  vulgaris. 

From  the  evergreen  box  tree,  Buxus  semjicrvirens. 

From  the  cones  of  the  pitch  pine,  Phius  maritima. 

From  the  red  bark  of  the  roots  of  the  male  dagwood  or  corne- 
lian cherry. 

Cornus  mas^  reddish  hazle  colour. 

From  the  barked  wood  of  the  same. 

From  the  mixture  of  laburnum  and  ptselea. 

From  the  roots  of  the  black  thorn  or  sloe,  Prunus  sylvestris. 
Hazle-nankin,  from  the  wood  of  the  common  maple,  Acer 
camfiestre. 

From  dry  hay,  and  madder  acidulated. 

From  the  bark  of  the  spindle  tree,  Eronymus  Eurofucus. 

From  the  wood  of  the  juniper. 

From  the  shoots  of  the  red  currant  tree,  Ribes  rubrum. 

From  the  dry  wood  of  the  yew. 

From  the  fresh  barked  wood  of  the  sallow  or  black  willow, 
Salix  Cafirxa. 

From  the  wood  of  the  laurustinus,  Viburnumtinus. 

From  the  wood  of  the  buckthorn,  Rhamnus  catharticus. 

From  the  shoots  of  the  Persian  or  narrow-leaved  wild  olive, 
Eleagnus  angustifolia. 

F rom  the  barked  wood  of  the  elm. 

From  the  flowers  of  the  common  purple  orpine,  Sedum  tele- 
fihium. 

From  the  black  poppy,  Pafiavernigrum. 

From  the  wood  of  all  the  poplars. 

From  the  leaves  of  pitch  pine,  Finns' sylvestris. 


501 


From  dried  plums,  and  from  the  black  grape. 

From  the  shoots  of  sea  buck  thorn,  Hilifwfthae  Rhamnoides, 
From  the  African  rag  wort,  Othonna  cheirifolia. 

From  the  green  barked  lime  tree,  Tilia  Eurofixa. 

From  the  roots  of  tormentil. 

• 

Olive. 

From  the  stalks  of  wormwood,  Artemisia  absynthium. 

From  the  fresh  stalks  of  the  silk  plant,  swallow-wort,  Ascle~. 
fiias  Syriaca,ov  Afiocymim^^tYrlm  dog’s  bane. 

From  cow  wheat,  Milamfiyrum  nemorosum. 

From  the  green  shoots  of  the  black  alder,  Rhamnus  frangulOy 
with  green  vitriol;  and  from  the  roots  of  the  same  plant. 

Green  olive,  from  the  ripe  plants  of  Bromus  tectorum,  broom 
grass. 

From  common  self  heal,  Pr««e//a  vulgaris. 

From  the  poplar  with  logwood. 

From  the  scabious  leaved  centaury,  or  common  knap  weed, 
Ccntaurea  scabiosa. 

From  the  toadstool.  Boletus  viscidus. 

From  the  Germander,  Teucrium  chamxdris. 

From  the  flowers  of  meadow  salfron,  Colchicum  autumnale. 
From  the  branches  of  common  hazle,  Corglus  avellana. 

From  the  hairy  evergreen  laburnum  or  trefoil  tree,  Cytisus 
hirsutus. 

From  the  dried  husks  of  the  common  bean,  Vida  faba. 

From  a weak  bath  of  green  weld.  Reseda  luteola. 

- — Geranium  moschatum. 

From  winter  cresses,  or  rocket,  Erisimum  bar  bar  ea. 

From  common  knap  weed,  Centaurea  nigra. 

From  the  ripe  stalks  of  drop  wort,  JEnanthe  fiimfiinelloidcs. 
From  the  ripe  berries  of  ground  ivy. 

From  mercurialis,  French  mercury,  fermented. 

From  the  bark  of  the  branches  of  the  walnut,  Juglans  regia. 
From  the  roots  of  water  patience,  ayKa^/ca,  particularlv 

with  solution  of  iron. 

From  the  leaves  of  black  poppy,  Papaver  nigrum. 

From  pansy,  or  heart’s  case,  Viola  tricolor,  fermented  and  un- 
fermented. 

From  fresh  shoots  of  the  poplar,  with  nine  grains  of  logwood. 
More  intense  by  doubling  the  logwood. 


502 


From  tlie  poplar,  redyed  in  wine  of  the  berries  of  Rhamnus 
frangula^  and  in  the  dried  berries  of  the  same. 

0?nbre,  or  Brownish  Yellow:  ground  for  Carmelite. 

From  two  dippings  in  the  straight-leaved  privet,  Alaternus. 
From  the  shoots  of  the  southei’nwood,  Artemisia  absynthium. 
From  the  shoots  of  the  common  alder,  Betula  alnus. 

From  the  twigs  of  Celastrus  scandens,  climbing  staff  tree. 
From  the  lesser  centaury. 

From  the  scabious  leaved  centaury. 

From  the  roots  of  celandine,  Chelidonium  majus. 

From  virgin’s  bower.  Clematis  vitalba. 

From  the  three  leaved  cytisus. 

F'rom  the  dog  rose,  Rosa  canina. 

From  the  shoots  of  scorpion  sena,  Coronilla  etnerus. 

From  fennel,  Anethum  fxniculum. 

From  Spanish  broom,  Spartium  junceum. 

From  the  bear’s-foot  hellebore,  Helleborus  fxtidus. 

From  the  cotton  weed,  Filago  arvensis. 

From  the  Erysimum  officinale,  sauce  alone?  Hedge  mustard? 
From  the  wood  of  the  ivy,  Hedera  helix. 

From  the  dry  wood  of  the  lay  lock  or  lilac,  Syringa  vulgaris. 
From  the  leafy  stalks  of  common  loose-strife,  Lysimachia 
vulgaris. 

From  the  melilot,  Melilotus  officinalis;  trifolium.  (The  seeds  of 
this  plant  ground  and  mixed  with  curd,  give  the  colour  and  the 
flavour  to  the  shap-zugar,  or  sapsago  cheese,  as  I know.  2\  C.) 
From  the  half  spent  decoction  of  the  olive  tree. 

From  the  wood  of  the  black  mulberry,  Morus  nigra. 

From  the  shoots  of  the  orange  tree,  and  the  skin  (ecorce)  of 
ripe  oranges. 

From  the  stalks  and  leaves  of  the  Palma  Christi. 

From  Scandix  pecten  veneris. 

From  the  pansy:  and  the  pansy  of  Rouen,  Viola  Rothomagcnsis. 
From  the  white  meadowsweet,  Spirxa  ulmaria. 

From  the  bramble  roots,  Rubus  fruticosus,  black-berry. 

From  savory,  Satureia  hortensis. 

From  the  evergreen  golden  rod,  Solidago  semper  virens. 

From  the  shoots  of  the  common  black  elder,  Sambucus  nigra. 
From  soot. 

From  the  shoots  of  the  red  bark  tamarisk,  Tamarix  gallica. 


503 


From  the  feathered  columbine,  Thalictrum  Aquiiegi folium. 
From  tlie  small  yellow  trefoil,  Trifolium  luteum fore  lufiuli. 
From  fresh  red  clover.  Trifolium  rubens  firatense. 

From  the  Canada  golden  rod,  Solidago. 

From  the  ivy-leaved  speedwell,  Veronica  heder if olia. 

Better  from  the  same  with  bismuth. 

Purfde. 

From  brazil  wood  fixed  by  birch  bark,  with  tin  mordant. 

Plum. 

From  the  fresh  and  dry  berries  of  the  black  alder,  Rhamnus 
frangula. 

From  birch  bark  and  logwood. 

From  bran  of  millet,  sorgho. 

Ronce  d’Artois^  Artois  Bramble. 

From  the  stalks  and  leaves  of  stinking  orach,  Chenofiodium 
vulvaria. 

From  the  plant  balsamine. 

From  a weak  bath  of  fermented  berries  of  black  alder:  also  ’ 
from  the  dried  berries. 

From  the  plant  of  stinking  chamomile,  Anthemis  cotula. 

From  myrrh,  (sweet  scented  myrrh)  Scandix  odorata. 

From  the  leaves  of  the  large  oblong  citron.  Citrus  medica. 

From  the  lesser  hemlock  or  fool’s  parsley,  Othusa  cyna^iium. 
From  spinach,  Sfiinacea  oleracea. 

F rom  spurge,  Eufihorbia  palustris. 

From  the  leafy  stalks  of  tythy  malle.  Euphorbia  cyperisasis^ 
Euphorbia  tythy  malloides,  Curassao-myrtle  spurge. 

From  the  weak  decoction  of  green  weld. 

From  the  yellow  everlasting  pea,  Lathyrus  aphaca. 

From  the  bark  of  the  European  nettle  tree,  Celtis  australis. 
From  shoots  of  poplar,  with  dried  berries  of  black  alder. 

From  wild  germander,  Veronica  chamcedris. 

Rose. 

From  the  purple  kidney  bean.  Haricots  d’espagne.  Phaseolus 
purpureus. 

— spotted  kidney  bean,  Phaseolus  rufus  variegatus. 

From  wild  germander,  Veronica  chamadris. 


0 


504 


From  the  roots  of  the  greater  bindweed,  Convolvulus  sejiium. 
From  the  archil  of  the  Canaries  reddened  by  acids. 

Red. 

From  the  roots  of  the  red  ladies  bed  straw,  Gallium  verum. 
P'rom  the  Portugal  cross,  Cruciata,  Lusitanica,latifolia^  glabra, 
Jlore,  albo. 

The  two  preceding  equal  to  madder. 

Chesnut  red,  from  madder  and  sumach. 

Purple  red  with  madder,  after  mordanting  with  bismuth  and 
galling. 

Scarlet  red  from  fine  madder:  rose  red  from  the  same,  with 
mordant  containing  one-eighth  of  tin. 

More  fiery  from  Cyprus,  Smyrna,  or  Lizari  madder. 

From  the  flowers  of  Glaucium. 

Several  other  varieties  of  red  from  madder  with  different 
mordants. 

Ventre  de  crafiaud,  (toad’s  belly).  Ground  for  Carmelite. 
From  the  branches  of  the  varnish  tree,  Rhus  vernix. 

P'rom  the  goat’s  rue-leaved  vetch,  ulstragalus  galegi  formis. 
Milk  vetch? 

p’rom  bastard  or  wild  indigo,  Amorfihafruticosa. 

From  shepherd’s  purse,  Thlasfii,  Bursa  fiastoris. 

From  flea  bean,  Conyza  sguanosa. 

From  the  shoots  and  leaves  of  holly.  Ilex  aquifolium. 

From  the  wood  of  furze,  f jonc  marin)  Ulex  Europxa. 

From  white  horehound,  Manubium  vulgare. 

From  the  basil  called  Thymus  acinos. 

From  savory,  Satureia  hortensis. 

Ventre  de  Biche,  (literally  Doe's  belly)  Tan  Colour. 

From  the  wood  of  Althxa, 

From  the  bark  of  young  oak. 

p’rom  Alpine  ebony,  Cytisus  laburnum.  . 

P"rom  the  bark  of  common  broom,  Spartium  scojiarium. 

From  the  shoots  of  the  three-thorned  acacia,  Gleditsia  tria~ 
canthoa. 

From  common  lettuce,  Lactuca  saliva. 

From  the  shoots  of  sophora. 


% 


505 


Green. 

From  the  ripe,  and  from  the  fermented  berries  of  black  alder. 
From  the  bark  of  the  common  ash,  Fraxinus  excelsior. 

P’rom  Italian  poplar  on  a blue  ground,  mordanted  with  bismuth. 
From  the  flowers  of  the  violet. 

Vigogna,  (^colour  of  Vigogna  ivooL") 

From  the  shoots  of  the  Siberian  acacia. 

From  the  dry  shoots  of  the  elder. 

From  the  leaves  of  artichoke. 

From  rest  harrow,  Ononis  arvensis. 

From  wild  angelica,  jingelica  sylvestris. 

From  tuberose  crowfoot,  Ranunculus  bulbosus. 

From  common  bladder  sena,  Colutea  arborescens. 

From  flowers  of  balsamine. 

From  the  water  parsnip,  Slum  latifolium. 

From  Gallium  verum,  lady’s  bedstraw. 

From  the  round  leaved  bell  flower,  Camfianula  rotundifolia. 
From  the  sea  holly  with  pinnated  cut  leaves,  Eryngium  cam- 
fieatre. 

From  the  blue  berried  upright  honeysuckle,  Lonicera  ccerulea. 
From  the  common  hedge  honeysuckle,  Lonicera  fiericlimcnum. 
From  the  pasque  flower.  Anemone  fiulsatilla. 

From  the  seven  leaved  colutea,  Coronilla  glauca. 

From  the  branches  of  the  fig  tree.  Ficus  carica. 

From  the  rose  flowering  raspberry,  Rubus  odoratus. 

I'rom  the  barked  wood  of  the  common  ash,  Fraxinus  excelsior. 
From  the  heart  of  the  common  broom,  Sfiartium  scofiarium. 
From  the  yellow  everlasting  pea,  Lathyrus  aphaca. 

From  the  Valantia  uparine. 

From  the  thorny  hedge  gooseberry.  Uva  crispa. 

From  the  dwarf  cistus,  Cistus  helianthemum. 

From  catmint,  JVepeta  cataria. 

From  the  stalks  of  knee-holly  or  butcher’s  broom,  Ruscus 
aculealus. 

From  the  shoots  of  white  jessamin,  Jasminum  officinale. 

From  sow-thistle,  Sonchus  oleraceus. 

From  Sonchus  maximus  plumerii,  Japonese  thistle. 

From  wild  lettuce,  Lactuca  scariola. 

From  common  lettuce,  Lactuca  with  tin  mordant. 

n s 


v^  - 7 

^ kj-L  . / 


506 


From  the  young  branches  of  the  lay  lock  or  lilac. 

From  the  hay  of  Luzerne,  Medica. 

From  the  Lychen  firunasti. 

From  the  lesser  snap  dragon,  Antirrhinum  Orontium. 

From  sweet  myrtle,  Myrica  gale. 

From  Dutch  medlar,  Mesfiilus  Germanica. 

From  the  shoots  of  buckthorn,  Rhamnus  catharticus. 

From  the  dried  shells  of  walnuts,  Jugtans  regia. 

From  elm  bark  with  tin. 

From  the  French  willow,  narrow  leaves,  red  flowers,  Ep.ilobium 
angustifolium. 

From  the  dry  straw  of  wheat. 

From  the  stalks  of  parsnip,  Pastinacea  sativa. 

From  the  vines  of  the  Vinca  major ^ Periwinkle. 

From  all  the  poplars. 

From  bark  of  the  plane  tree. 

From  China  aster.  Aster  Sinensis. 

From  knot  grass.  Polygonum  aviculare. 

From  green  sain  foin,  Hedasyrum  onobrychis. 

From  scorzonera. 

From  the  flowers,  &c.  of  common  elder,  Sambueua  nigra. 
From  the  bark  of  sycamore. 

From  the  stalks  of  Thalictrum. 

From  the  shoots  of  common  lime  tree,  Tilia  Eurofma. 

From  the  I'oots  of  upright  tormentil,  Tormentilla  erecta. 

From  common  privet,  Ligustrum  -vulgare. 

From  the  shoots  of  the  wayfaring  tree.  Viburnum  lantana. 
From  viper’s  bugloss,  Echium  vulgare. 

Violet. 

From  logwood  fixed  by  birch  bark,  with  bismuth  mordant,  of 
various  shades:  and  also  with  tin  mordant. 

From  the  skins  of  the  fruit  of  Uva  crisfla. 


BOOKS 

PUBLISHED  BY  THOMAS  DOBSON, 

No.  41,  South  Second  Street. 


Experimeotal  Researches  concerning  the  Philosophy  of 
Permanent  Colours,  and  the  best  means  of  producing 
them;  with  all  the  improvements  in  dyeing,  calico 
priming,  &c.  down  to  the  present  time.  By  Edward 
Bancroft,  M.D.  in  two  large  octavo  volumes,  g6  00 

Cavallo’s  Elements  of  Natural  and  Experimental  Philoso- 
phy, condensed  and  improved  with  various  Notes,  by 
F.  X.  Brosius,  with  plates,  2 large  volumes  octavo,  8 00 
Krafft’s  American  Distiller,  or  the  Theory  and  Practice 
of  Distilling,  according  to  the  latest  Discoveries  and 
Improvements,  including  the  most  improved  methods 
of  constructing  Stills,  and  o.f  Rectification.  8vo.  with 
plates,  2 00 

ENCYCLOP.EDIA,  or  a Dictionary  of  Arts,  Sciences, 
and  Miscellaneous  Literature,  on  a Plan  entirely  New, 
by  which  the  different  Sciences  and  Arts  are  digested 
into  the  Form  of  Distinct  Treatises  or  Systems.  The 
whole  (including  the  Supplement,)  complete  in  twenty- 
one  large  quarto  volumes;  illustrated  with  five  hundred 
and  ninety-five  copperplates. 

The  work  is  offered  for  sale,  the  whole  twenty-one  vo- 
lumes, in  boards,  at  105  00 

The  sett  bound  in  sheep,  double  lettered,  136  00 

■ I bound  in  calf,  double  lettered,  1 60  00 

bound  in'calf,  elegantly  gilt,  171  00 

Or  in  various  elegant  bindings  in  proportion.  The  Supple- 
ment may  be  had  separately,  in  three  volumes,  in 
boards,  at  1 8 00 

Or  bound,  with  the  price  of  binding  added. 

Pain’s  Practical  House  Carpenter,  with  146  copperplates,  5 50 
Ellicott’s  Journal  of  Determining  the  Boundary  between 
the  United  States  and  the  Spanish  Government,  in  the 
years  1797,  8,  9,  and  1800,  containing  Occasional  Re- 
marks on  the  Situation,  Soil,  Rivers,  Natural  Produc- 
tion and  Diseases  of  the  different  Countries  on  the 
Ohio,  Mississippi,  and  the  Gulf  of  Mexico,  with  Maps, 

Plates,  and  Astronomical  Observations,  6 00 

Buchan’s  Domestic  Medicine,  or  Treatise  on  the  Preven- 
tion and  Cure  of  Diseases  by  Regimen  and  Simple  Me- 


I 


/ 


cUcines,  with  an  Appendix  containing  a Dispensatory 
for  Private  Practitioners  and  Families.  Revised  and 
adapted  to  the  climate  of  the  United  ^States  by  Dr.  S. 

P.  Griffitts,  late  Professor  of  Materia  Medica  in  the 
University  of  Pennsylvania,  8 3 00 

Cambon’s  Letters  and  Conversations  of  certain  Young 

Ladies,  1 00 

Evenings  at  Home,  or  the  Juvenile  Budget  opened,  6 vo-  ' 
lumes  printed  and  bound  in  2 vols.  12mo.  * 2 00 

History  of  America,  containing  a General  Description  of 
the  Country;  of  the  Natives,  and  their  Customs  and 
Manners;  the  discovery  of  America  ,by  Columbus;  the 
Conquests  of  Mexico  and  Peru;  the  British  Colonies; 
and  the  Revolution,  terminating  in  the  Independence 


of  the  United  States;  with  2 maps,  12mo.  1 00 

Hurdis’s  Poems,  containing  the  Village  Curate,  Tears  of 
Affection^  The  Bouquet,  and  Adriana,  or  the  first  of 
June,  12mo.  1 00 

Ilelme’s  Instructive  Rambles  in  London  and  the  Villages 
adjacent,  designed  to  amuse  the  Mind  and  improve  the 
Understanding  of  Youth,  with  a handsome  frontis- 
piece, 12mo.  I 00 

More’s  (Hannah)  Strictures  on  the  Modern  System  of 
Female  Education,  with  a View  of  the  Principles  and 
Conduct  of  Women  of  Rank  and  Fortune.  2 volumes 
handsomely  printed,  12nio.  1 75 

Purves’s  Observations  on  Dr.  Priestley’s  Doctrines  of 
Philosophical  Necessity  and  Materialism,  with  Obser- 
vations on  Socinian  Arguments,  12mo.  1 00 


Raffald’s  (Mrs.)  Experienced  English  Housekeeper,  for 
the  use  of  Ladies,  Housekeepers,  Cooks,  £cc.  written 
purely  from  practice;  consisting  of  nearly  nine  hundred 
Original  Receipts  in  Cookery  of  all  kinds;  Confectiona- 
ry, Pickling  and  Preserving,  Distilling,  Brewing,  &c. 


with  plates,  12mo.  1 00 

Thomson’s  Seasons  and  Castle  of  Indolence,  with  the  Au- 
thor’s Life,  and  Aiken’s  Essay  on  the  Seasons,  12mo.  1 00 

The  same  book,  calf  gilt,  1 50 

The  same,  with  plates  by  Lawson,  the  most  beautiful  that 

ever  were  engraved,  calf  gilt,  3 00 

Tour  from  Gibraltar  to  Tangier,  Sallee,  Mogadore,  Santa 
Cruz,  and  Tarudant;  thence  over  Mount  Atlas  to  Mo- 
rocco, including  a particular  account  of  the  Royal  Ha- 
rem, by  Lempriere,  12mo.  1 00 

The  same,  calf  gilt,  1 50 

Tour  through  Zealand,  containing  a Historical  Account 

of  the  Battle  of  Copenhagen,  12mo.  0 50 

World  Unmasked,  or  the  Philosopher  the  Greatest  Cheat, 

12mo.  1 bo 

Also,  a variety  of  Medical  Books. 


•« 


- ♦•  V 


i - ^ 4^^ 

/■'..,  •'  • . V- 

' ■ . rl, 

^ ' ' ■ 

V " r ^ ■ 


t 


\ 


. Vti  ••  ■« 

.V  X • ► 


<b> 


\ 


t 


I 


( 


t' 


